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. DIRECT^'

BULGARIAN; CAT>

HUf ARiAN AND ti

EMBROIDERY AT
WORK, HEMSTITCHING,
NETHNG. V'OOL-W

-i ->\'A, CA.AR1C
:ROS3 , IN i 1SH MA r
ND RETICELU^
ND OTHER FORMS OF
i4EEDLECRAFT X ** *
m$M^Js!EB&'

k- Edited By

Flora Klicfcn

"A Live Magazine for Women/'

" No praise can be too high for this Magazine.
Each article is written with knowledge and
insight, and in a practical spirit."

— Morning Post.

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" It is a happy mixture of Fiction, Cooking,
Dressmaking, and Household Management, as
well as articles on matters of topical interest."

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Two "Jolly Little Books" for Little Girls,

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\ THE LITTLE GIRL'S

i KNITTING **
| CROCHET BOOK

Edited by FLORA KLICKMANN

Editor of "The Girl's Own Paper and Woman's Magazine," "Stitchery," etc.

Containing instructions for making many pretty articles for
Dollie, for Baby, for Mother and for Auntie— just easy, attractive
and yet useful things that a small girl will love to make.

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THIRD EDITION.

THE

^^"zn

iu!e(i/l*^eHJng[}ook

LITTLE GIRL'S
SEWING BOOK

Edited by FLORA KLICKMANN,

Editor of "The Girl's Own Paper and Woman's Magazine."

Profusely Illustrated and attractively bound in
coloured picture boards. Large Imperial 16mo.

Containing Pretty Things that a Little
Girl can make, including an Outfit for
Dolly's Wardrobe, Furnishings for Dolly's
Cottage, Presents for Mother and
Auntie, and Handy Things for Herself.

" This very copiously and usefully illustrated work contains lessons in practically all the stitches used
in plain needlework as well as the more useful of the fancy stitches. Each article deals with some

-ThestraUonesttrve that nimble fingers will itch to set to work immediately Unlike
many books on needlework, this one is written in simple and readable English, so that not merely a little

rett^^

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St- LONDON. E.C.

The Cult of
the Needle

The Home Art Series

The Cult of
the Needle

EDITED BY

FLORA KLICKMANN

Editor of " The Girl's Own Paper & Woman's Magazine."

SECOND \IMPRESSION

London :

The Office of " The Girl's Own Paper & Woman's Magazine
4 Bouverie Street E.G., & 65 St. Paul's Churchyard.

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WOMAN'S WORK IN WAR TIME.

No work is more practical than knitting.
Every woman making a useful garment
contributes to the wealth of the country.,

73 useful recipes, simple and advanced, for
2d., in "Woolcratt*' published by

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AnoYher of J & J. Baldwin's useful publi-
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fr££ 2|ir.) ilhisteatin^ and explaining clearly
the simple way of making handsome woollen
rugs from Beehive and Turkey Rug Wools.
A most interesting pastime for convalescent
soldiers. No knowledge of knitting required,

RUG WOOL

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i*. V^ ^ * V* •*«*.„•* ****.,* **>*¥»-**,* ft j-'fc. i *"^fc

EDITED BY FLORA KLICKMANN.

The little squares here shown would
make attractive d'oilies, or could be
used as inlets in a larger piece of work.
Many of the stitches used are similar
to those in Hardanger work, and
workers will easily follow them with
the aid of the enlarged details given.

For this work use Congress canvas,
with Peri-Lusta for the embroidery.

The little Star d'oily requires a
7-inch square of canvas. The work
is commenced at the centre. When
the centre is settled point out a little
square of four threads and begin the
work as the detail shows. The little
triangles have 21 stitches, the larger
covers 12. the shortest 4 threads; the
4 triangles make a square of 28 threads.
The openwork squares around the
triangles have 21 stitches on each
side, the stitches cover 4 threads.
When the squares are worked round,
cut off the threads at the inside of
the square as follows : — Cut away 4
threads on each side of
corners, then leave 4
threads for weaving,
and again cut away 4
threads on each side
until you have 9 little
squares in each square.
The 4 threads you sew
over and over as
shown, and when

How to

work

Hungarian
Embroidery

starting on the middle of each bar
the thread should be looped and
twisted to the other. For the outer
solid portion every diamond is made
of 23 stitches, the shortest covers 4,
the longest 16 threads.

The Diagonal d'oily measures the
same as the previous one. Here the
work is also started at the centre.
The squares are made by 21 stitches
over 4 threads, 7 squares are to be
worked diagonally across the linen.
On each side of the squares the solid
triangles already described should be
made 12 on each side.

When finished, work along the tri-
angles the little squares of 4 threads, 36
on each side. Then start at the 12th
little square and form a large square on
each side as shown, each square con-
tained by 12 little squares. In the
centre of the big square make a little
square of 4 threads, having on each
side 5 stitches over 4 threads. The star
is made of 17 stitches
on each diamond, the
shortest 4, the longest
8 threads. The little
diagram is made by 12
stitches, the shortest
over 4, the longest
over 12 threads.

The separate detail
of this section

355S84

C.N. A

Hungarian
Embroidery.

jf£.£
A*»i :'!";•.;•

The open-work triangle used in
the Diagonal D'oily.

shows a rather more elaborate diagram,
composed of 20 stitches and having a
cross-stitch in the middle. The tri-
angle in openwork
has on the outside
53 stitches over
4 threads.
After out- ...

lining it, .-.".*•

cut

m-mm

t h e

"', * f"4
threads « .-

as for
H a1 r d a n ger
wo rk, and
work over and
over the 4
threads each
way that are
left. For the
openwork
squares leave 4
threads in the
middle of each
side, cutting
away the
remaining
threads, cai'ry
the working

f «.»

Details of the Star D'oily and
the Insertion.

thread from corner to
nig corner, and work

over and over the bai^
formed.

The insertion
requires a 3^-inch
wide strip of linen.
The stars are worked
as for the d'oily.
The triangle has 37
stitches on the
straight side. Leave
4 threads below this
straight side. Then
draw out 1 thread. Again
* ••••• leave 4 threads, and

draw 6 threads, leave 4 and
draw 1. Each vertical stitch
is taken over 4 threads, and the
long bars are worked over 8
threads. This insertion
would make a very handsome

Details of the , ,
Diagonal D'oily. blouse trimming.

Two Handsome
Designs.

X INSEKTION DESIGN.

»•«••

A HANDSOME DIAGONAL, D'OILT.

The Making of Fringes.

AN EASILY-MADE FKINGE.

Knotted fringe, one of the many
revived handicrafts, is coining very
much to the
fore. And no
wonder — for
it is one of
the most
graceful
additions to
pieces of
stitchery.
The rejuven-
ation of the
craft is
heartily
welc om ed
by all who
treasure
some lovely
old fringe
from "great-
grand-
mamma's
b o t t o m -
drawer."
And every-
body w h o A. TWINEP FRINGE

likes to turn out high-class
workmanlike stitchery, will
find in fringe-making not
only a means of aiding
materially to the beauty and
value of her work, but also
an art which offers large scope
both for artistic taste and for
manipulative skill.

The Origin of
Fringes.

The original idea of fringe-
making was to utilise the rem-
nant of the warp. When a piece
of material was finished in the
loom, the last three-quarter
yard of warp could not be filled
in, as the machinery of the
loom through which the warp
was cunningly threaded hindered the
shuttle from further work. However,
..- - - it was found

t h a t t h e
fringe look-
ed pretty,
and the idea
to knot it
came by
degrees.

It may be
mentioned
here that
this was the
beginning
of another
art, the one
which deve-
loped into
"pillow-
lace." But
this is by
the way.

To return
to the prac-
tical point
of the ques-

tion, knotted fringes are now made
of various materials applied on the
embroidery as well as by unravelling
the weft and knotting the warp.
In making it with the warp, the length
and pattern should be decided upon
before cutting out your material, and a
piece of the material should be left free
for the fringe. When the embroidery
is finished, the woof should be unrav-
elled, care being taken that the warp
does notgettoo entangled. Remember
that the knotting takes up a consider-
able length. It is advisable to allow
anextratwo-
thirds, i.e.,
if your fringe
is to be 6
inches long
the warp
should be 10
i n c h e s , as
the 4 inches
will be taken
up by the
knots.

Knotting and
Twining.

B e f o r e
beginning
to knot
the fringe,
secure t h t
piece of
tapestry by
means of
some heavy
weigh t s
laid on it.
E qual i s e
your tassels
as much as
possible,
and when
practicable
count the A VANDYKE FBINGE.

Knotting the
Warp.

threads of every tassel. (This can, of
course, not be rigorously carried out
when working on fine material).
Make a knot on every "tassel," manipu-
lating the knot with a bodkin or
some such blunt implement. When
the 1st row is knotted, every tassel
should be equally divided, each half
being joined'-on to the neighbouring
half-tassel. The knot joining the 2
halves together is done as described
above.

One variation is to twine 1 row :
Divide tassel, twine tightly and the

MAKING THE VANDYKE FRINGE.

The Making
of Fringes.

way of the
thread (if
twine d
originally)
each half
separately,
then bring
the 2 halves
round and
round each
other in the
oppos i t e
direction to
that in
which they
were first
twined,
h o 1 d i n g
each ' twine '
in place the
whole time
by just
changing
hands con-
tinual 1 y ;
then secure
the twine
with a knot.
When the
pattern of
the fringe is
completed
the edges
should be
eve n 1 y
trimmed.
Applied Fringe.

A knotted fringe can be applied on
a piece of stitchery . Instead of unrav-
elling the woof, a fringe can be added
to it, and can be made of wool, silk,
macrame-cottou , or whatever material
may suit the work. But it must be
remembered that since the fringe
is meant to represent the warp, it
should correspond both in thickness

FRINGE NO. 3 IN THE MAKING

a n d i 11
colour. If a
wool twice
as thick as-
the material
is used for
the warp r
then one
should allow
8 threads
intervening
space for
every 4
threads of
the fringe,
and so on.
For applied
fringe cut
all your
strands the
same length
to begin
with — twice
as long as
you want
the fringe
previous to
knotting it.
Mark out
the spaces
for thread-
ing in the
fringe, or if
a coarse
material,

such as canvas, count the threads.
Now thread both ends of the fringe-
strands into the needle and thread
that through the material from
the wrong side. Catch the loop with
your left 1st finger and thread your
needle through that. For the sub-
sequent rows see directions above.

The Colour of
the Fringe.

This should always be that of the

Applied
Fringes,

actual orapparent warp of the material.
By the "apparent" warp is meant
any stitchery obviously meant to
represent part of the warp, such as in
various kinds of tapestry where long
stitches are employed the way of the
warp. Here the same colours can
effectively be continued in the fringe.
But where stitchery is obviously of
the applied kind, it is in better taste
to make the fringe entirely of the
same colour as the material, .

Its Decorative
Use.

Wherever the embroidery suggests
the craft of the loom, the fringe is
absolutely the most stylish finish, for
the very character of the stitchery not
only seems incomplete without it, but
it positively calls for it as a softening,
graceful accompaniment. Conse-
quently, wherever any kind of tapes-
try, any of the Indian embroideries,
or such richly-coloured, tapestry-look-
ing needlecrafts are of decorative
effect, that effect is added by a nicely-
patterned and carefully-worked
fringe.

No. 1. A Twined
Fringe.

Of the three fringes illustrated No.
1 is made as follows: —

Measure out equal spaces and cut
strands for fringe as directed. This
particular fringe takes np a good deal
of wool on account of so many twined
rows, the original length of strands
being 28 inches for a 7-iiich fringe.

Double thread through material
and knot as directed.

1st Row. — This is twined; the 2nd
movement of the twining is repeated
5 times and then the knot is tied.

2nd Row. — Divide the tassels and
join the 2 neighbouring halves with
a knot.

3rd Row. — A.s 1st row.
4th Row. — As 2nd row.
5th Row. — As 1st and 3rd rows.
6th Row. — As 2nd and 4th rows

No. 2. A Vandyke
Fringe.

For this Vandyke fringe measure
the article --to be finished off with
fringe and subdivide into spaces of 3
to 4 inches. In each space measure
off and mark 1 ascending row and 1
descending one, 4 deep as illustration.
If the material is unyielding, the holes
should be pierced before threading the
fringe through. Then thread as
directed.

1st Row. — Knot the fringe, includ-
ing one-half of the lowest tassel, as
only half of this belongs to each motif.
The outer half of the initial tassel is
thus left free. An illustration shows
this in the making. In each of the
following rows the outer half of each
end-tassel is likewise left free until in
the 5th row only one complete tassel
with half a tassel on each side is left.
These are joined into 1 by a knot.

It is the better plan to do all the
"Vandykes" first. The half tassel left
free in the last "Vandyke" will, of
course, be part of the next motif.
When all the Vandykes are completed
thread a darning- or crewel-needle
with the same kind of wool (or silk)
as you are using for the fringe.
Gather up the 4 half-tassels on each
side into 1 tassel and wind the wool in
your needle through that. Secure
this "imitation-knot" with a couple
of stitches at the back as invisibly as
it can possibly be done. All this
unkuotted work will be found to be
considerably longer, and the tassels
formed by gathering it up should'be
trimmed separately and comparatively

The Making
o! Fringes.

long. Then trim the short tassels on
the Vandyke movements.

No. 3. An Easily-
made Fringe.

For this quickly-made and effective
pattern measure out 2-inch spaces.
Measure and mark an independent
and detached "movement" in each
space as illustrated. This fringe looks
best when worked with 4 strands to
every stitch. Thread through from
the right side all the 5 holes of each
"movement," then gather up all the

loops in your left hand and all the
ends (on the wrong side of the
material) in your right hand. Thread
all the ends through the united group
of loops. An illustration shows this
fringe in the making, the silk being
tied round the united group of loops
to be held by the left hand. Pinning
to a cushion or securing by weights
laid on is, of course, necessary.
Arrange nicely the pattern thus
formed. Make a knot.

The 2nd and «Jrd rows are knotted

A STAR D'OILY IN HUNGARIAN EMBROIDERY.

Directions for this work appear on page 1.

A Lesson in Netting

No kind of lace
combines the
qualities of ele-
gance, durability
and general useful-
ness so much as
filet lace. It is most
decorative,whether
on household linen ,
such as tea-cloths,
bedspreads, tray-
cloths, and a quan-
tity of other things,
or as trimmings on
muslin or Shantung silk dresses.
Cushion-covers and curtains are made
both attractive and valuable when
composed of netting inlets in con-
junction with Broderie Anglaise,
Italian or French embroidery, and
various kinds of pillow lace. Filet
lace lasts a life-time — and more — if
carefully washed. And, lastly, it is a
most fascinating handicraft.

We have become accustomed to
consider the art of making filet lace
as having originated in the Italian
convents, But though the nuns made
netting into a high art of lace-making,
and as such handed it down to us,
they themselves most probably got

Hands in position ready for the First Loop.

the idea from the
Orient, where
em broidery on net-
ted silk-foundation
with gold and
silver thread, and
all the rich colours
of the Orient, was
one of the common
forms of applied
art in the early
centuries. Where
the idea first sprang
froin to make the

common fishing-net mesh out of linen
and silk, and to employ it for orna-
mental purposes, is not known.
Still less do we know how, when or
where the fishing nets themselves
were invented.

Materials
Required.

The implements reqrired for mak-
ing filet lace are a netting-needle,
generally made of steel, a flat ivory
niesh, and a piece of twine about 1^
yards long. The material is linen-
thread. (Barbour's 3-Cord L,ineii Lace
Thread.) If a heavy cushion is avail-
able, the twine will not be required.
A coarse piece of thread half a yard

Bobbin passed behind Mesh through Loop. Ready to draw up the Knot.

9 j

A Lesson in
Netting.

The two top designs show respectively a Star and a piece of
Square Netting. Just below is a sample of Oblique Netting,
and the bottom design is an oblong piece in the making.

or less and a pin will do for make
ing the foundation-loop on which
to commence the work and hold the
netting steady whilst working. If no
heavy cushion is at hand, then make
a loop of your twine, put your left
foot through it and let the heel pre-
vent it from slipping off.

The beginner should begin on some
coarser material such as "Bright-eye"
or "Peri-lusta," and a mesh at least a
quarter of an inch wide. The needle
is forked at both ends and has gener-
ally an "eye " at the one end. Thread
the needle and tie a knot to secure,
then run the thread along both sides
of the needle and through the forks
until twice the thickness of the flat
ivory-mesh you mean to use. (The
beginner should use a flat mesh, as
the round ones are not so easy to keep
in place.) The thread should now be

I- 10

cut from the ball and
tied securely to the
foundation-loop.

Making the
Knot.

Hold the rnesh with
your right hand,
tightening both the
thread and the foun-
dation loop. Grasp
the mesh with your
left hand and you hold
it just as you hold
your pen with the
right hand for writ-
ing. Thus holding
the mesh, with palm
of the hand towards
you, bring it beneath
the thread to meet the
knot that joins the
thread and the foun-
dation-loop. Then
bring the thread with
your right hand tightly round the
mesh — the 1st, 2nd and 3rd fingers of
left hand. (The needle is held between'
the thumb and the first and second
fingers of right hand.) Bring the
thread back between first and second
fingers of left hand and in under the
thumb, which should hold it securely
in place on the mesh, first loop. Then
lay the thread in a large semicircle
across the foundation-loop and behind
your right hand. Holding the needle
by the one end. thread the other
(upper) end from the left through the
first loop, underneath the mesh but
above the three fingers of left hand,
through the foundation-loop (from
underneath upwards). The upper
point of the needle should finally rest
on the large semicircle where that
crosses the foundation-loop. Let go
the lower point of the needle and

grasp the upper one,

draw the thread

through, catch the loop

(second loop) with your

fourth finger, then re-
lease the thread from

between the thumb and

the mesh , retract second

and third fingers from

1st loop, while tighten-
ing it with the right

hand. When the 1st

loop is quite tightened

round the mesh only,

the fourth finger should

be withdrawn from the
2nd loop ; tightening
the thread with your
right hand will secure
the knot. It is important that
mesh should be held in place
whole time just beneath the connec-
ting knot and at a right angle with the
foundation-loop. Also never let the
little finger release its
hold on the 2nd loop
until the second and
third fingers have re-
leased their hold on the
1st loop and that loop is
tightened round the
mesh. Otherwise the
netting will be uneven.
The illustrations show
the correct positions.

Oblique Netting.

The beginner should
practise on an "oblique"
piece of netting. Make
a row of, say, 20 loops on
a foundation-loop, which
should be about 4 to 6
inches long, looped at
both ends and pinned at
either end on to a heavy
cushion. Then draw

Netted
Edgings.

the mesh out, unpin,
and turn your founda-
tion-loop, bring the
mesh just to meet the
row of loops and make
your 2nd row each loop
to the one just above
it, always w o r k i n g
from the left to the
right, unpin, draw the
mesh out again, and so
on. The knack of
making an even mesh
is easily acquired in
half to one hour.

Many pretty edgings
for tray-cloths, etc., can
be made on the oblique

Two Edgings netted obliquely. by using different sizes
the of mesh, joining 2 or more loops of the

the last row with 1 loop of the row in

making, or vice versa. By adding
separately-made wheels we come very
near the Armenian lace, which is also

A D'oily showing different sizes of mesh.
11

A Lesson in
Netting.

made by loops and
knots. The elaborate-
ness of the design
depends, of course, on
the ingenuity and
proficiency of the
worker. A netted
d'oily-edging is also
an oblique netting.
The foundation-loop
should be round, and
it should be turned to
the left continually;
instead of working
backwards and for-
wards as in a piece of
obliquely-netted lace,
the foundation-loop
should be tightened
into the required
circumference as soon
as the 1st row of loops
is made, the last loop thus being made
to meet the 1st one. Then the netting
is done round and ronnd. The more
variety in the size of mesh and the
greater amount of "fans," contrived

The Lower Edging has separately
netted wheels.

A Netted Edging and a Darned Net Edging.

by means of joining several loops of
the previous row into one knot, or
branching off a number of loops
from one single loop of the previous
row, the prettier will the general
effect be.

Netting a Square Foundation
for Embroidery.

This should be done over a very
fine mesh ; a flat bone one. one-eighth
of an inch, is easier to manipulate,
otherwise a fine knitting needle will
serve the purpose. Begin by making
2 loops into the foundation-loop,
turn, then make 2 loops in the last
loop of every row, thus increasing by
1 loop until the requisite width is
attained. It will be seen that all
netting is done obliquely, a square
being commenced at one of the
corners. Also that theoutsides of the
netting is everywhere strengthened
by an additional loop. Thus one
should always count 2 loops extra.
12

Foundations for
Embroidery.

Now when you have the 2 loops more
.than the desired width, 1 row should
be netted without increasing. Then
join the last 2 loops of every row,
thus decreasing the number of loops
by 1. When, at last, there are
only 2 loops left, the mesh should
be withdrawn before the final knot
is secured. If the increasing, the
straight row, and the decreasing have
been done as directed, the finished
piece of netting when stretched out
is the straight square ready for em-
broidery.

Oblong Pieces of
Netting

Begin as for square netting. When
the width is attained, and 1 row is

netted without increasing, increase
every other row and decrease every
other (begin by increasing.) When
the length is reached, decrease as for
the square piece.
Knots.

Except when the thread breaks
accidentally, all the knots should be
at the edge- When the thread on the
needle is not long enough to last the
next row through, it should be cut
off to within an inch ; the needle
should be refilled, and the new thread
joined on by means of a sailor knot
(never a "granny-knot" !) quite close
to the last knot made by the netting.
Knots within the netted square itself
are very ugly and should be avoided.

Net being darned in a frame.
13

A Lesson in
Netting.

Embroidering

on the Net.

The net should be tacked into a

wire-frame, each

corner first firmly

secured in place.

then the sides

opposite each

other, two at the

time, so that the 11 -

is evenly stretched.

The stitch mostly used is the
darning-stitch, point toile. When
consisting of only 2 threads in the
warp and 2 in the weft, the lace is
called " Filet Antique." Do as much
of the warp as can be done of the
pattern before beginning the weft.
Only one " fastening" is allowed, the
newthread being joined to the old one
by a sailor-knot. When beginning
at a new spot follow round the edges
of the darning, twining or "over-
sewing" round the thread of the
netting, when that can be followed ;
if not, take the nearest way to the
point where darning should recom-
mence in the same manner.

The same kind of. thread can be
used for darning filet lace as for
netting the foundation, or Barbour's
Irish Silk Floss Embroidery Thread.
About Meshes.

For the sake of clearness, the word
" mesh " has only been used for the
implement so-called. The netting is
often called mesh, and so are the
loops. An even piece of netting is,
for instance, called "even mesh, "and
a certain number of loops is termed
so many " meshes." This is quite
correct, but somewhat bewildering in
a set of directions.

The worker will sometimes find
that the meshes are not always true,
but very often a lead-pencil or a coarse

A Hammock in Miniature.

steel knitting-needle will give a more
perfect circle (when a round mesh is
used). This, however, the worker
will soon find out
for herself.

How to Make a
Hammock.

Some girls may
want to start some-
thing really useful
and will like to

attempt a hammock. Any strong kind
of twine should be used for this, and
a very big netting-needle. The ham-
mock is netted obliquely, 40 loops
in every row throughout the entire
length of the hammock.

The foundation-loop should go over
the foot, as the material is too heavy
for pinning the work on to a weighted
cushion. For netting the 1st and 2nd
rows, a thin but strongly-bound book
should be used as mesh. Then 35
to 40 rows (according to the length
desired) are netted over a wooden
mesh lg inches wide, and the last 2
rows are again netted across the same
book as was used for the first 2 rows.
The foundation-loop should be
moved from time to time as the work
grows, threading il through every
mesh of the last but one completed
row. This should be repeated when-
ever the work has grown to such a
length as to be uncomfortably near
the worker's face. When the netting
of the hammock is complete, the final
knot should be strengthened by an
additional knot. The mesh should
be withdrawn from the loop before
securing this knot.

Now gather up all the loops of the
last row in your left hand, run the
twine 6 times through and join all
six rings thus formed into one, either
by crocheting or buttonholing (also

with the twine). This makes an
extra strong ring to fasten the ham-
mock 011 to a tree. A similar ring
should be made by taking up the
loops of the 1st row. It will be found
that they are " looped " at the end as
they were netted on to the already with-

An Effective Dress
Trimming.

drawn foundation-loop. These little
knots are easily undone by stretching
each loop separately. The end of
twine at the very beginning of the
netting should also be secured. And
the two strong rings for the cord
should be exactly alike at either end.

Dress Trimming in Rhodes
Embroidery or Punched Work,

Collars

and Cuffs

! w o u 1 d

look

effective

in this

style of

work.

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Beautiful trimmings for dresses
made of some material of an open
texture can very easily be made in
this popular style of fancy work.
Any geometrical design can be traced
on the fabric, such as that illustrated
here, then the outside edge is worked
over with overcasting stitch ; the
openwork section is done on the
counted threads. Commencing at
the first 3 threads inside the line at
the left side, with fine linen thread
and a very coarse tapestry needle,
insert the needle between the 3rd and

4th threads in the fabric, from the
top, catch the end of the thread
as it follows the needle, bring the
latter up before the 1st thread in a
horizontal line, then pass it down
through the 1st hole again, crossing
the end of the thread to secure it,
bring it up through the 2nd hole and
down through the 1st again, * pass
the needle diagonally on the back
and bring it up through the 3rd and
4th threads in a perpendicular line
below the 2nd hole, insert between
the 3rd and 4th threads in a horizontal

An Effective Dress
Trimming.

line with the last
hole, and bring it up
again through the
preceding hole, then
down through the
hole to the right, *
repeat to the end of
the Istperpendicular
line of openwork in
the design, turn the work
upside down and repeat
over next 3 threads and
continue in this way until
all the perpendicular lines
are worked, then turn the
work the other way and
work the horizontal lines
in exactly the same man-
ner. The lower edge is
worked in buttonhole
stitch with coarse embroid-
ery cotton and the cen-
tre flower with the same
kind of thread. Make a
hole in the very centre
of the motif with the
coarse needle, then
work a row of button-
hole stitch around it,
using, of course, an ordi-
nary embroidery needle
for the purpose. The
petals are worked thus : After finish-
ing the centre bole pu! a stitch on the
edge of the first one or two stitches to
get the thread
exactly opposite
the centre of
one of the little
squares that
surround this
centre, stretch
the thread along
the centre and
make a stitch
in about the

The Berlin Wool-work Designs on this page
are described iu the next article.

Suitable for a Cushion :

Background dark brown,

Cross-bars gold. Centre

Design cream.

Variety can often be obtained by

combining one or two Simple

Motifs.

A Neat Design for Waistbelt,

in three colours to harmonise

with the Gown.

4th thread from the
edge, insert the
needle in the edge
of the buttonhole
stitch through which
it conies out and
stretch another
thread to the top
stitch where you run
the needle under the same
thread in the fabric; this
gives 3 threads over which
you work darning stitch
from side to side, taking
alternately two and one of
the threads on the needle
down to the centre, where
you pass the stitch through
the buttonhole stitches
until exactly opposite the
centre of next square,
where you repeat the
petal, and so on all
round for the 8 petals.
The material is next cut
away from the outside
of the buttonhole edg-
ing.

Collars, revers, and
cuffs in this pattern will
give a very dainty finish
to the costume made of
linen, and of course, may be, with
advantage, worked on a coarser
material of a contrasting colour, or
white. Har-
danger canvas
is a very suit-
able material
for the white
or ecru work ,
and so are the
new shirting
canvasses of
m ercerised
cotton.

mnm

Rose pink, pale green anc

white would combine wel

for the above Design.

Berlin Woodwork.

The revival of
the tnid-Victorian
Berlin wool-work
is a useful one.
Like every form
of needlecraft, it
has been abused,
and always will
be abused if it
gets into the,
hands o^f "the
inartistic worker,
who has neither
good judgment — Suitable for Inlets

nor a good pattern — to guide
her. But when treated artisti-

for a Cushion.

t i onal . As a
matter of fact, its
very convention-
ality is an advan-
tage in many
instances,
because a worker
who has the
sense to know
when her powers
are only very
limited can get a
good motif, and
repeat it with

excellent effect, without any
demand on artistic percep-

icse Bells would look pretty for
a Fancy Work Bag.

cally, and
used in the
right place,
this work
has very
desirable
qualities,
and is to be
preferred
to many of
the looser,
coarse
forms of
embroid-
ery, even
though it
may be
much more
c o n v e n -

A simple pattern
for a Fancy
Waistcoat.

A Bold Design in

three colours for a Cushion Centre
or a Footstool.

Waved lines in various shades of
the same colour are effective.

t i o n , or
clever
workman-
ship —
which may
be beyond
her.

The good
w earing
quality of
this work
is undeni-
able; the
c a n v a s
gives a
staying
power to
the whole,
and the

Berlin Wool
Work.

.it can be seen, as be rolled up aiid put
away to make a happy hunting ground
for moth!" And tl :n she told me
how, in her early married life, when
her husband — a Member of Parlia-

:;:;:

A Design, in black, violet, heliotrope and
white. Could be used iu various ways-

thickness of the crossed wool or
thread makes a thoroughly strong
firm substance when completed.

I saw a most interesting example of
the durability of this work in the
home of the late Mrs. Emma Brewer,
whose name was so
well known to the
older readers of The
Girl's Own Paper,

The long corridors
in her flat were
carpeted witlrHengths
of this work, most
exquisitely worked, in
aconveiitional pattern
in which dark tones
predominated, but
were relieved with

If you thought of
Design would

A quiet device that could be used as a
Belt, a Cushion, or a Teapot Mat.

brighter touches of colour. The work
was the width of moderately wide
stair carpet, and in lengths each
several yards long. When I remarked
on the beauty of the work, and
exclaimed against such handiwork
being walked upon, Mrs. Brewer
smiled in her way — which was a
very charming way — and said, "But,
my dear child, it may just as well be
serving a useful purpose, and where

Bands of trimming like the three-
colour blocks above would look well
at the edge of plain Winter Curtains,
such as serge or rep.

ment — was often late
at the House, she
used to fill up the
time by doing this
work while waiting
up for him. In those
Victorian days the
gentlewomen did
great things in the
way of needlework,
and there is every
indication that the
reign of Queen Mary
will show some equally fine records.
But though everyone may not have
the courage to attempt such large
pieces of work as these strips done by
Mrs. Brewer, there are scores of less
ambitious ways in which the work
can be used to great advantage. Only
remember this: its great beauty lies

trying a Mat, this
look very well.

A Crazy Pattern that will amuse children.

Above is a Design that would look

well for Belts, or for trimming

Children's Winter Frocks.

in a right
selection
of colour.
And here
the mod-
ern work-
er has an
immense
advantage

over the earlier workers. Silks and
wools are now obtainable in a variety
of delicate and beautiful shades that
would have fairly dazzled our ances-
tresses. Baldwin's Beehive Fingering
can be had in a number of beautiful
colours, and is very suitable. And to
these must be added the wonderful
range now available in the mercerised
cottons, and the various pretty glossy
threads, such as Peri-Lusta, that
in oder n
i 11 genu i t y
lias produc-
ed from
wood fibre !
All these
Avear well,
.and though
the cotton
threads may
not be quite
.as lasting as the wools, they do well
-for things that are not required to
live indefinitely, and are only wanted
rfor a time.

It is not necessary that men's fancy
-waistcoats, for instance, or dress
trimmings, or girls' waistbelts, should
last for a generation. If they serve a
•couple of seasons, that is usually
•enough ; one is tired of the pattern
'by then, and craving something
new ; for these the mercerised
threads are usually all that
can be desired. On the other
;h a n d , for cushions, bags,

This would look well in Bands

as a dress-trimming for serge

or cloth.

Carried out in apple green

diamonds, out/lined with

black, and completed with

white.

Small
Designs.

fancy strips for chairs and such-
like upholstery, where the work
will be acceptable, and delightful,
and useful for as long as ever it
can be made to last, a good quality
wool, with dyes guaranteed to
fade as little as possible will be the
best to use, and the beauty of
this will be greatly enhanced if a
stout rope
silk, or
E s p 1 e n
D ' o r , is
introduced-
in touches.
It will
brighten the
work and
give it rich-
n e s s and
character.

As a general rule, this work looks
best when it consists of a repeated
simple conventional design. Now
and again one comes on sprays of
flowers, birds, and such-like subjects
that have been produced with good
effect, but these are exceptional •
more often they look crude and ang-
ular ; whereas a small recurring pat-
tern has charm of its own in its very
simplic-
ity a n d
mono
tony. One
point
a b o v t
this work
will es-
p ecially
commend
it to the girl with small pocket money,
and that is the cheapness of the material
as compared with work done on linen
or any other material that is to show-
when the work is finished.

The Design above is most suited
to a Fancy Bag. This work looks
well if used for the lower half of
the Bag, the upper half being of
silk.

Pincushions in Cut Work.

A Crescent-

shaped

Pincushion.

To make this
pretty pin-
cushion, com-
m e n c e by
following with
a fine needle
the line on one
side of the
figure with
small casting
• sts. Then work
down the other
side until you
come to where
the first bar is
to be placed.
Take a st across,
making a bar
between the
two lines (see
Fig, 1). Now
1 st back. Fas-
ten these sts

firmly. Take

1 more st
across and
fasten in
the oppo-
site side.
You have
nowabarof
3 threads.
Turn your
needle, and
ho 1 d i n g
the point
between
your finger
and thumb,
work with
the blunt
end over
and over
the threads

A CItESUENT-SHAPED PINCUSHION.

A KETICELLA PINCUSHION.

of the bar until,
with close, even
sts, you reach
the opposite
side. Turn
your needle
again and con-
tinue basting
around until
the next bar is
reached, when
the process is
repeated.

When the
bars are finish-
ed, cut the
material away
beneath, being
careful not to
cut the bars.
Free the bars
with your
needle, and
work all round
the design with
the simple over
and over
binding st.
The back
of the piii-
cushion
may be em-
broidered
the same as
the front,
or left
plain, but
both edges
are scallop-
e d and
button-
holed, and
eyelet holes
worked
near the
edge,

Fig. 1. MAKING THE BARS AND CUTTING AWAY THE MATERIAL

through which ribbon is run. The
pincushion is finished with a bow on
each end, allowing a good length for
hanging it. Worked entirely in
white and laid over pink, with pink
ribbons, the effect is very beautiful.

A Reticella Pincushion.

The square pincushion is rather
•more difficult than the other, but
even here, the great essential is care,
and if the
work is fol-
lowed step
by step, as
shown in
the working
directions
{Fig. 2), even
this will be
found to be
within the
possibilities
of the aver-
age worker.

Start with
the middle
figure.
Pierce a hole
in the centre

Working
Details.

and button-
hole round,
with the
purl sts on
the outside.

Then make
a 2nd row of
loose button-
hole sts in
every 2nd st,
after which
take 1 bind-
i ng st in
each of those
loose loops to
make them
firmer and
stronger.

The 3rd row consists of a series of
triangles, all worked in buttonhole st.
Fill the 1st hole with sts, turn, and
work back on top of them. Take a
2nd row of buttonhole sts on top,
only making this row 2 sts less than
the 1st, work back again. Continue
until there is only 1 st left. Then
take a few overcasting sts down the

Fig.

WORKING THE CENTRAL FIGURE-
FIGURE AND SOLID EMBROIDERY.

HEART-SHAPED

Pincushions in
Cut Work.

side of the triaiigle, and start the
next triangle in the 2nd hole.

Baste round the circle which en-
closes the central figure. This is
also buttonholed round. As the
circle is worked, the triangles are
connected with the crossing bars,
which, as will be seen, are of the
thread twisted over and over. As the
embroidery is done, the material is
carefully cut away on the wrong side.

For the heart-shaped figures, first
take small basting sts round, then a
row of close buttonhole stitching,
and on top of that a row of loose
buttonholing. A few sts are then
carried across to fill the figure in.

Make the upper and under side of
the pincushion cover of the same
size, and hemstitch each to the depth
of an inch. Then lace with cord.

•9*

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AOOBN DE8IGN IN DAKKED FILET NET.

Filet Lace Squares.

A DESIGN SHOWING SIMPLE OUTLINES.

Filet brode or darned net, now
coming so much to the front, is a
most fascinating form of fancy-work,
and not so difficult as it may seem to
the inexperienced worker. The point
to be most particular about is to see
that the right thread is used, as this
makes a great difference to the work.

The first step is the netted back-
ground— this is made in the ordinary
way with a mesh, according to size
desired. For this part of the work
use Harbour's 3-cord Linen Lace
Thread.

The square or strip thus obtained,
is then stretched on a wire frame
(these frames are to be obtained in
any large needlework department).

The design is now carried out in
"point de toile" or darning stitch,
with a rather blunt needle, and thread
(the thread should be a little finer
than the mesh). Barbour's Irish Silk
Floss Embroidery Thread is suitable
for this.

After tying thread to the mesh
with the needle, pass alternately over
and under a thread of the mesh,

Filet Lace
Squares.

•***»*•* *£ifliif ******

AN EFFECTIVE PA.TTEBN.

according to design ; an effort should
be made to connect the design as far
as possible, thus avoiding open
spaces. Continue to fill in the holes
with two or three threads, now work
over and under these threads cross-
wise, giving darned effect.

The work is more easily accom-
plished by beginning at the corner
of a design— but great care must be
taken in counting the number of

holes, etc., as a mistake is so easily
made. Knots must be avoided ; when
taking a new thread attach to last
with a very small knot which becomes
invisible in the darning.

The squares illustrated are most
effective for inserting in table-linen,
etc. The same design worked in a
finer make of mesh and thread make
a very elaborate finish to a frock or
blouse.

Catalan Embroidery.

Handsome
Centrepiece
in Catalan
Embroid-
ery.

enlarged
s e c t i o n
appears on
ano t he r
page.

The Centrepiece.

The drawing should be traced upon
a large square of linen or oatmeal
cloth. (Pencil marks will soil the
threads). Fix the material very firmly

into an embroidery frame. Cover the
whole with fine butter-muslin or
white paper. Cut a door and pin
back whilst working. This method
keeps the work from becoming soiled.

TEA CLOTH BORDEB.

The directions are the
as for the Butterfly.

Catalan
Embroidery.

Use Goto n Perle "Lustrous"
D.M.C., No. 8.

Begin with the "mesh" or net-
stitch. This is very simple work,
merely tiny loops worked evenly back
and forth. Work this "mesh" in
and out between the drawing, taking
care that each side is sewn well
within the flower, leaf, and outer
edges, otherwise the stitches may
break away when the material is cut
out underneath.

with snow knots. To make the snow
knots use double thread and leave
tiny, even loops upon the upper
surface of material. After the leaves
are embroidered fill in the bare spaces
with these snow knots or very small
cross-stitch. Finish off all outer
edges of flowers and leaves with a
firm buttonhole stitch.

The trunk and all narrow sprays
are merely smooth satin stitches.

When all is finished, remove from

HP*£ %-wM>V$ti^ Xfct>;vj^:;

This Butterfly
is a very hand-
some specimen
of Catalan
Embroidery.

The

stitches are

not difficult,

but great care

is required.

Now commence work upon the
rose by making tiny cross or back
stitches between each petal. Pad
these petals with any kind of soft,
white thread. Carefully embroider
each portion of the flower and finish
off with a narrow buttonhole stitch
all around the outside. This will
hold flower and mesh firmly together.

In the smaller flowers there is no
padding. The centres can be cut
out for tiny openwork, or filled in

frame and work a narrow buttonhole
edging all around the outside of the
embroidery. Turn over, cut away
the material from under the mesh,
also from the buttonhole edging.

The insertions illustrated are
worked in the same way.
The Butterfly.

A square of coarse linen or oatmeal
cloth is needed.

The design should first be drawn
upon paper. If drawn upon the

Simple
Insertions

A NARROW INSERTION.

material great care must be taken,
otherwise the pencil marks will soil
the threads. Commence by running
a single thread around all the draw-
ing. Use Ardern's new " Lustrous "
Thread. Work a tight, but narrow,
buttonhole stitch around the upper
parts of wing and lower parts of
body and tail.

Now fix material very tightly in an
embroidery frame. Work head and
the half-hoops with a firm satin-
stitch. Between these hoops and
between the buttonhole work of
wings sew tiny stitches, drawing the
linen threads apart, as in Rhodes
Kmbroidery.

Upper Wings.

Cut away the un worked material

from the upper parts of wings close
to the buttonhole work, making 2
holes on both sides of the open-
worked parts.

Around each of these holes make
from 10 to 14 loop stitches. Don't
draw them too tightly, or the work
will pucker when washed. Now
return to the top of the hole and work
upon it a small ring of 3 threads.
Into this ring cast on 6 long threads,
passing each thread through a small
loop at the bottom of hole. At the
top of these 6 threads make a small
tassel-knot. Take a needleful of very
long thread. Sew it firmly into this
tassel-knot. Take 2 of the 6 long
threads and darn them closely back
and forth until nearly at the bottom

Design
compo«se»l
of Satin
Sti tc h
and Net
Stitch.

Catalan
Embroidery.

of the hole. Pass the
needle here and there
through one of the
tiny side loops, fasten-
ing each firmly. Con-
tinue darning until at
the bottom, first
arou nd the lower
threads and finish
with fancy knot.
When 2 of the 6
threads have been
darned on both sides,
return to the 2 long
threads in the middle,
darn in the same
manner, but continue
until almost at the
bottom of hole, thus
forming the point.
Finish with fancy
knot.

Lower Left and
Right Wings.

Begin the outer edge, and near the
head, with a narrow buttonhole
stitch, gradually making it much
wider towards the bottom. Care
must be taken that the sides are
even.

AN ENLARGED SECTION OF
THE CENTREPIECE.

Cut out material and make 19 small
stitches upon the sides of the hole,
commencing in the middle. This
done, return to top of hole and work
4 threads across for a ring, buttonhole
it and cast on 19 long threads. Pass
each thread into a loop at the side

THIS INSERTION IS WORKED IN THE SAME
MANNER AS THE CENTREPIECE.

of liole and continue until each is
finished. Return to top and button-
hole very firmly twice across the 19
threads, close to ring. Split these
threads into groups of 4, on either
side, leaving 3 for the middle. Darn
down the 4 threads, in the same
manner as in the upper wing, as far
as the 1st loop at the sides. Finish
off each with fancy knots. The 3

A Handsome
Cushion Cover.

long middle threads must be darned
until nearly at the bottom of hole
and finish with knots.

Around the body work a very
narrow and firm buttonhole stitch,
and fill in with Rhodes Embroidery
(or Punched Work). The tail is filled
in with woven wheels,

The tea-cloth corner is worked in
the same manner as the butterfly.

A CUSHION COVKU IN BARO EMBROIDERY.

For directions see next page.

The New Baro Embroidery.

Ill

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A Handsome copyright Design, by th(
Broderie Russe Co.

It really seems nowadays as if needle-
work and embroidery were made so
simple that most effective results can
be produced with a minimum of
trouble and difficulty. In the new
Baro work, of which some exquisite
samples are illustrated on these pages,
there is no drawing of threads that is
so trying to the eyes. All that are
required are a little care and patience,
and the work is quite within the
possibilities of anyone who can do
buttonhole stitch and binding stitch,
Avhich is simply an over and over
stitch.

Materials
Required.

The materials required are few and
simple. First there is the design,
which can be bought ready traced on
to the material for d'oilies, tea-cloths,
•cushion-covers, or practically any-
thing else. Then a sharp pair of

. embroidery scisso.rs will be required,
a crewel needle, and some Baro
embroidery thread.

How the Work
is Done.

The first thi ig to do is to buttonhole
stitch the design all round (binding
stitch may be used for this part of the
work if preferred, but buttonholing is
the most general). This must be done
before any of the cutting is com-
menced, or the material will fray and
be spoilt. Now take the scissors and
snip along the lines marked in the
diagram AA to BB. Around the little
bar thus formed, sew firmly over and
over in simple binding stitch, keeping
the point of the needle in the hand
and working with the other end, as
this is so much easier. When this bar
is finished, cut on the adjoining lines
C D, and work in the same way. Con-
tinue to work in this way over the

Easier than
it looks.

BBC

cloth. It is really £
best to snip the
bars for the width
of the work first,
as it is then pos-
sible to continue
sewing over and
over without stop-
ping to cut in
between. When
the other side of
the cloth is reached.
s:iip down the next set of lines and
work back again in the same way.

Over the vertical bars H (which are
formed by the previous stitches, and
do not need to be cut), the same over
and over stitch is worked, and a cross-
stitch is made where the horizontal
and vertical bars intersect one another.

Any further embroidery stitches can

Diagram showing method of
working.

now be added to the
solid part of the
design, and a most
suitable finish to
this handsome
work is an edge of
Cluny lace.

As will be seen
from the samples
of work we illus-
trate, t h e back-
ground mesh can
be varied, some being squares, some
more oblong, etc. A clever worker
soon gets to make many varieties.

Where to Get
the Requisites.

This work is suitable for various
purposes, and looks very beautiful
when made into curtains or bed-
spreads. But the worker who does

mmm* .m&w

^^^^0^^^&^^M

A finished piece of work, from a copyright design by
the Broderie Russe Co.

The New Baro

Embroidery.

not want

i '^3-

to attempt

f)V'

so much
at the

ffll

start may

be gjad

to know

/f\

that it is

equally

effective

made

up into

^JS

smaller

articles,

fc i

JL . J

and de-

signs can
be pur-
chased
traced for

t/p
'~'*?~

d 'oilies

m^as^

&. ?•. ^o^T* "VJ

Starting a piece of work.

Baro em-
broidery
strength-
ens the
fabric ,
and gives
it a n
added
lease of
life, since
every
thread in
the back-
grou n d
is gone
over
again
with
the em-
broidery

and tray-cloths, nightdress cases, etc.
These designs and all requisites for
the embroidery can be obtained from
the Broderie Russe Co., 289, Regent
Street, London, W.

One of the admirable qualities of
this work is its durability. Whereas
drawn threads often weaken the fabric,
no matter how beautiful the design,

thread.

The interesting variation in the
background of the cushion cover
design on page 29 is given by catch-
ing two bars together in the middle.
Notice too, in this handsome piece
of work, the various methods thai
have been employed for filling in the
leaves, hardly any two being alike.

An effective little square made by
darning filet crochet-

Innishmacsaint Lace.

INNISHMACSAINT LACE.

When Queen Alexandra last visited
Ireland, the women of that country,
who always had a respectful liking
for her, were puzzling over what
offering they could make that would
express in any suitable manner their
regard and esteem, and at the same
time be acceptable, they thought of
this Innishmacsaiut lace, and unani-
mously agreed upon it. It is tne
most precious of all the Irish laces,
and is very like the rare old Venetian
Point. A length of this was made
and tied around a bouquet of choice
flowers, which was presented to Her
Majesty. It is said that she appre-
ciated the beauty of the offering very
much, as well as the manner in which
it was made.

The lace is made in the finest of
linen thread in the natural colour,
and though so very fine is not at all
difficult to make, as the stitches used
are only variations of the well-known
buttonhole stitch, but the very fine
stitchery required is somewhat trying
to the eyes if the worker be not
blessed with very keen sight ; there-
fore only a small piece should be
worked at a time, and there is no
reason why anyone who can sew very

neatly should not make a few motifs
in this charming lace, if only for the
purpose of learning how to make it.
An idea of the costliness of this
needle point may be formed from the
fact that lace, only 3 inches deep,
will cost from 52/- a yard upwards
when of the best quality.

The piece of lace illustrated was
worked with No. 100 Irish Lace
Thread, linen, in the natural colour,
that is unbleached, a very coarse soft
linen thread was employed for the
" high relief " edges and rings, a very
particular feature of this class of lace.
The first thing to do is to prepare the
design, but these can be had already
made from the fancy-work depots.
They are usually composed of the
design traced on green linen or glazed
calico in heavy black lines, and these
are best, as the green background
makes the stitching less trying and
more distinct. If from any reason
one of these is not obtainable then
the design must be drawn on a piece
of paper and transferred to the glazed
calico, or it can be worked on a small
piece of tough paper if only a single
motif be required.

Tack the paper securely to a piece

C.N. C

Innishmacsaint
Lace.

of coarse linen, then take 5 or 6
strands of the linen thread and fold
them into a cord long enough to
cover the outlines of the design.
Beginning at the end of a stem or
leaf, lay this cord along the outline
and fasten over it with a st across the
cord, bring the needle up from under-
neath beside the cord somewhat less
than ^g -inch from the last st, insert
the needle from the other side of the
cord through the same
hole and pull the
thread, nottoo tightly,
but so as to keep the
outlining even, then
repeat yiis st until
the entire outline has
been covered. All the
lines, including the
little rings, must be
outlined with this
cord. You then
proceed to fill in the centres with the
various kinds of buttonhole st, taking
great care to keep the work as clean
as possible. For this purpose only
the part in actual use should be left
uncovered ; the other portion should
have a piece of white paper tacked
over it, and if the strip be long it
must be folded and pinned into a

WORKING THE LACK STITCH.

roll, then on the working portion the
fingers should touch it as little as
possible ; a scrap of tissue paper
wound round the thumb of the left
hand and tightly twisted at the top to
keep it secure is the readiest way to
prevent soiling from that useful
member which is the finger that
conies most often into contact with
it. The sts must always end at a
traced line; there can be no joining
in the centre or any
other part, and when
the thread gets too
short it must be run
2 or 3 times into the
tracing line to secure
it, without making
the tracing too thick ;
then cut away, join
a new t h r e a d b y
fastening to the
outline with a couple
of tight sts. A hint of great use to a
worker is to always work with the
point of the needle turned from the
worker ; the sts are more uniform
when this method is adopted.

When all the spaces are filled,
the edges, except those in " high
relief," are worked over in a close
buttonhole st, with the picots if

/\/\AAAAAAAAAAAAAAAAAAA/\

AM OUTLINK OF THE PATTEUN

necessary. In the sample illustrated
there are no picots on the thin
buttonholed edges, but they are
plentiful on those in relief. For the
edges in high relief, }TOU take a very
coarse linen thread of the same colour,
or fold the outlining cord in three as
a substitute, and work the button-
hole sts over this into the edge of the
leaf. The large rings are also worked
over this thick padding and the little
loops with picots formed while work-
ing the buttonhole sts. It will be
more convenient to work the small
rings separately, and then sew them
in place.

To Work the Buttonhole Stitch.

Commence at the right side of a
line and work a row evenly and
closely to the opposite side, make a st
into the outlining cord and bring
the thread back across the top of the
sts to the point where you began the
row, make a st into the outlining
cord here, then work back over this
thread into the sts. of the 1st row,
taking care to go into every st, and
where there is a diamond, stripe, or
other figure in little openwork holes,
you pass over 2 or 3 sts by stretching
the thread across the thread already
there and even with it, then when
coming back work the same number
of sts over the 2 threads as were
missed in the previous row.

To make a Picot.

At the point where }rou require the
picot to be you insert a pin through
the linen, pass the thread once
around this phi' to form a tiny up-
standing loop, make a st on the edge,

A Beautiful
Design.

then put a couple of sts around the
stem of the loop and continue along
the edge to the next picot, and so on.

The little loops with picots are
made by turning the thread back and
forming a loop by making a tight
st into the edge about 10 sts to the
right : form another loop over this
and fasten to the left, then bring the
thread back to the right again and
fasten into the 1st st, thus getting 3
threads to work over.

The bars that connect the different
portions of- the design are all worked
over a single thread, and there are
single or double loops with picots
worked on the centre of all the
longer bars.

The top edge is worked before the
filling of the bars, of course ; the 2
horizontal lines are outlined with the
thick thread, then buttonholed and
the space between filled with diagonal
bars. In the lower edge the horizontal
line is also of the coarse thread, and
the loops and picots are formed while
working the buttonholing over the
line.

The lace is removed from the
design by cutting the threads on the
back of the design.

When the stitchery is finished,
place the lace between folds of linen
wrung out from hot water, press with
a hot iron until the linen is nearly
dry, only on the wrong side of the
lace. Remove the linen from under
the lace, and keep pressing over the
upper piece until the lace is quite
dry. The front of the lace should
show out in high relief and the lace
be quite crisp and fresh.

Reticella Lace Squares.

The band
round the
central figure
has the
buttonholes
spaced.

Here the
P i c o t s on
t h e Corded
Bars give a
light effect.

This work is made with a rather
coarse make of linen thread, which
gives a heavy, rich effect, and is most
suitable for inserting in bed, table
linen, etc.

The design should first be traced
on moleskine or architect's dn -ving
paper. The principal lines of tracing
are now outlined with two strands of
the thread, which are couched down

at intervals with needle and ordinary
sewing cotton . This serves as founda-
tion for the work and is most
important.

Buttonhole stitch is chiefly em-
ployed for this work. The " brides
or barrettes " are made by stretching
the thread across space three times,
and buttonholing.

The thicker parts of the workr

A Star
Pattern.
The triangles
are composed
of spaced
buttonholes.

The five
central bars
crossing in
the centre
are in Bind-
ing Stitch.

Patterns for
Inlet.

Another
Star Design,
with the
alternate
points alike
only.

Notice the
pretty finish-
ing of the
corners in

this work.

principally the small triangles, are
worked as follows : — 1 row of button-
hole stitch over outline thread, throw
thread across from right to left, pass
needle under 1st buttonhole stitch,
work as before with buttonhole stitch
into each stitch of former row and
over thread.

For the parts . where a lighter
effect is required the 1st row of
buttonhole stitches instead of being
close together are slightly spaced ; in

the following row a stitch is placed
between each, and in the next rows
alternately.

In some parts a corded effect is
obtained by simply pressing thread
closely under outline thread and
drawing up tightly.

When the work is completed, the
couching stitches are done and the
square taken off the paper and firmly
pressed on the wrong side with a hot

A Bold
Design, the
main feflture
being a Cross
in ail Oval.

Woven

Wheels form

the centre oi

all these

patterns.

The Story of Amager
Embroidery.

The present time is
the Renaissance
period of Handicrafts.
Never were national
home-industries more
fully recognised or
held in highe-r honour
than they are to-day.
Needleworkers of the
highest rank are stud-

modern times at their
disposal ; aided and
inspired, too, by the
designers of high
standard who have
made such a thorough
study of the "Art of
national industry,"
and who have brought
their wider experience

The simplicity of
the stitches is here
shown. The charm
of the work lies in
the colouring. '

iously examining old stitches and deft-
ly reproducing them with the improved
implements and various materials of

and their highly cultured taste
to bear on the subject and
thus brought it to a completion

AN ENLARGED SECTION OF THE CENTREPIECE.

Circular
Patterns.

—the goal of its initiators' aim.

Every kind of national industry has
its romance, its own record of steady
development, and its own distinct
characteristics, which account for its
charm.

One of the most charming of old
national industries recently brought,
to light and recognition is Amager-
work, so called from the island
of Amager, just outside the
city of Copenhagen. It
portraysthe products
of the traditional
occupation
of the

tinually occurring, bespeaks a surpris-
ing understanding of the inherent
relations of colours. The clusters,
wreaths, and "patches" of flowers,
all copied "full face " and seldom with
any stalks, constitute the designs of
Amager- work. The endless variety of
colours, achieved by means of plant-
dyes, and arranged in exquisite effect,
are its distinctive charm.

In addition to the technically
interesting type of design,
exquisite studies in
tone and har-
rn o n y of
colours,

inhabi-
tants of thai

island in

quaintly pictorial

manner. Their flowers,

shrubs, and herbs were

their models, as well

as the medium through which
they obtained their lovely mellow
tints. The subtle gradations of shades
found in old Amager colours speaks
of an inborn aesthetic instinct, and
the prodigality in design, in which
new juxtapositions of colour are con-

A BEAUTIFUL CENTREPIECE.

From a Copyright Design by Mr. Chr.
Permin, of Copenhagen.

there is
something
essentially
Dutch in the char-
acter of Amager-work
(though its revival and
present form is entirely
due to the Danes). And no wonder!
for the Amager colony was imported
from Holland. King Christian II.
married a Dutch princess in 1515, and
it was undoubtedly owing to her
influence that he, in the following
year, imported some 30 Dutch families

A D'OILY IN SHADES
YELLOW, BLACK

Amager
Embroidery.

on account of the fame of that nation

as gardeners and dairy-farmers. He

gave them the fertile island of Amager

as a settlement,

and the tax he

levied on them

consisted of

dairy produce,

vegetables, and

herbs for the

royal household

and retinue.

From t hat
day till now has
the Aniager
people's fame
as gardeners
maintained its
supremacy.
And it is one of
the most pictur-
esque sights of
Copenhagen — and one that no visitor
should miss — to see the vegetable and
flower-market or "Amager-torv" in
the city of Copenhagen, the Amager
wives in their quaint dresses, and the
stalls overflowing with what truly
look like prize vegetables and flowers.

They have preserved their Dutch
type, and many of them wear the
national dress — maybe somewhat
modified since 1516. But they are
undoubtedly strong and independent
as a clan, though loyal to the core to
the adopted land of their forefathers.
It was these settlers who initiated the
Amager- work.

It has been said that the hall-mark
of decorative art, as distinct from
merely pleasing ornamentation, is the
former's appeal to one's emotions and
intellect through the medium of one's
senses; and national industries are
said to approach the rank and standard
of art in proportion as they reveal the

OF RED, BLUE,
AND WHITE.

soul of the people. Few national
industries appeal, to my mind, more
directly to one's emotions than
Amager -work '.
The rich, ripe
tints of the
thriving cot-
tage-blossoms,
arranged in
prettily contras-
ting colours,
the bright ,
plentiful blos-
soms, tell of cot-
tage-gardens, of
love for Nature,
and of some-
thing more be-
sides. The very
mode and man-
nerinwhichthe
flowers are used

as models for their embroideries, and
the amplitude of their embroidered
works, tell a romance of a wish to
please someone with a gift, to the
beautifying of which gift the beloved
flowers must be sacrificed. They are
always most becomingly arranged and
then "copied" with many stitches and
with much and careful choosing of
colours. Such a piece of stitchery is
pervaded with folk-lore and radiates
romance.

The modern Amager-work owes its
revival and justly-earned reputation
to Mr. Chr. Permin, in Copenhagen.
He- has made a thorough search for
authentic models in the shape of
Amager aprons, cloths and cushions,
etc., and, with his staff of able workers
and designers, has not only revived
the old industry, but made it to meet
modern requirements. And he him-
self is a past-master in colour-schemes.
The work is most fascinating, and,

A Hardanger
Trimming.

as the stitch is the same as used in
plain embroidery, it is easy. The
variety of colours makes it clear for
the eyes as well. Everything hinges

upon a correctly poised design and
the real Amager colours. Last, but
not least, Amager-work is most applic-
able and distinctly decorative.

Hardanger Blouse Trimming.

This pattern can be easily copied as
it contains only the simplest of Har-
danger stitches. The material used is
white Hardanger linen. The outlines
and darning are worked in " Bright-
eye" weaving, lace stitch and crochet
in "Gem Brighteye."

Counting the
Threads.

It makes the counting easier to run
& piece of cotton over and under 4
threads of the linen for the size
required. This also serves as a test
of the accuracy of the work ; a thread
is so easily missed and then the out-
lines have to be done again.

Darning,

After the outlines of the pattern are
finished, run a thread under and over

2 threads across the linen between,
miss 2 threads and repeat, starting the
thread over this time. The satin stitch
around is worked over 4 threads.

Lace
Stitch.

The lace stitch is done, when the 4
sides are finished, by working a but-
tonhole stitch into the 4 corners;
then overcast each stitch, pulling the
thread rather tightly.

Crochet
Edge.

Turn the linen in, leaving 2 threads
beyond the satin stitch, over this work
d c, making the loops long enough to
cover the linen edge. 6 d c, Sch.slst
back into 4th stitch, into loop work
5 dc, 1 picot, 5 dc.

A Brussels Braid Lace Collar

This most effective-looking lace is
quite simple to make, and the work is
very quickly executed. The design
shown is from Mr. William Barnard,
126, Edgware Road, London, W.,and
he is able to supply all the materials.

A fine Brussels net and the two
varieties of lace braid shown will be
needed to make the collar, also lace
thread for filling-in purposes.

First tack the Brussels net over the
design, and then place the fancy braid
round the edge as shown in the illus-
tration, whipping the inner side of
each curve. Arrange the straight braid
where required and fasten securely

with a tiny hemming stitch. Then
fill in the twisted bars where shown.

The small leaves are made by cutting
the ovals of the fancy braid apart, and
arranging them as the design indi-
cates.

The straight braid is used for the
flowers, and is arranged to form petals,
the centres of which are filled in with
cross bars. Any of the various lace
stitches can be used for filling in the
design.

After the work is completed remove
it from the pattern, cutting away the
surplus muslin, and press carefully
with a warm iron.

A CORKER OF THE COI/LAB.

Carrickmacross Lace.

Carrick-
macross
lace, as
its name
denotes,
is especi-
ally an
Irish lace.
It has
known
in a n y
v i c i s s i-
tudes, but
has sur-
v i v e d
them, and is even
more popular to-

Showing how the couching is done, after net and
muslin are tacked over the design.

neatness,
make
hand-
some and
valuable
lace.

Materials
required.

These are
few, but
should be
of the
best
quality.
They are
Carrickmacross
muslin, white or

Some of the Lace S-titches
that can be used.

FLOWERETS
DESIGN.

day than ever. This
lace is exceedingly
beautiful, and, at the
same time, so simple
of execution that
those who are not
great workers can,
by a little care and

DOTS AND RUNNING
STITCHES.

cream ; Brussels net,
square mesh, white
or cream ; lace scis-
sors, with bulb on
one point ; needles,
sizes 10 and 12 ;
design; Carrick-
macross cotton,

A Section of

a Carrickmacross

Lace Collar.

The top
illustration
shows how the
work is started.

Carrickmacross
Lace.

white or cream, 60, 80, 150, 200.
To commence the work, first lay
the net on the design, and then the
muslin, tacking through all these
round and across, and then very care-
fully round the design, avoiding the
actual lines of the pattern. This
tacking is very essential, as it greatly
improves the finish of the lace.

Working the
Design.

The worker must next find on her
design a pattern where she can com-
mence to work that will follow on as
far as possible without breaking the

cord, the 60 and 150 cotton work well
together, or the 80 and 200. The
coarser thread is for the top cord, the
finer for the sewing over. Commence
by putting down a long thread, and
then with the finer thread sew the
coarse thread with small slanting
whipping-stitches to both muslin and
net. This is called " couching."

Avoid cutting the outlining thread
as much as possible by turning back
and sewing the two threads together if
necessary. It will be noticed that the
thread fs usually turned into a picot
at the edges. This is done by turning

A. ROBESPrEBBE COLLA.B.

For a Scarf
End.

THE FINISHED WOHK IS
VERY EFFECTIVE.

a loop on the thread, and securing it
in place with a couple of neat stitches
in the centre.

After a sufficiently long piece is
worked, then cut out. This, of course,
must be very carefully done, as the
muslin must be cut away from the
outside, design, so as not to cut the
net underneath . First pick up a little
pieceof muslin, and then cut round the
pattern, keeping tl e b unt side of the
scissors against the net. The spaces
can then be filled in with fancy
stitches. Some of these are here illus-
trated. After the work is finished,
take off the pattern and press with a
warm iron, putting some thin material
between the iron and the work.

The designs for collars, etc., can,
of course, be bought on glazed linen
or ready traced on Carricktnacross

muslin. Or if you prefer to use your
own design, you should copy it on a
piece of stiff white paper, such, as
drawing paper. Then go over it with
pen and ink, rather heavily, and
remove all trace of lead pencil care-
fully by rubbing with dry bread
crumbs.
Where to get Materials.

This work makes beautiful col-
lars, cuffs, scarf ends, fans, d'oilies,
handkerchiefs, lace, etc., and one of
the illustrations shows a corner of a
beautiful "Robespierre" collar.

You can get this design, also the
pattern of lace illustrated and all the
requisites for this work, from Mr.
William Barnard, 126, Bdgware Road,
London, W.; also a large number of
other designs for this handsome form
of work.

Bulgarian Embroidery.

There is a great demand for
Bulgarian embroidery at present, for
ornamenting collars, trimming coats
and bodices, as well as for trimming
hats. The Bulgarian women are
famous for the embroideries with
which they adorn their clothes and
household napery. This embroidery
is very easily made on
coarse linen of an
open texture, such as
is at present used to
form collars to wear
with the coat 01
blouse.

An}- design may be
'copied and the outline
worked with stem
stitch, as this must
resemble a cord as
closely as possible,
then the centre may be A VANDYKE PATTERN

There is generally a fancy stitch
used as an edging for insertion strips.
In' the samples shown, the first .is
worked in the fashionable shades of
ecru and white on coarse linen, fol-
lowing the lines in the material the
design is outlined with stem stitch
over four threads, there are three

A DIAMOND INSERTION IN THREE SHADES.

filled in with any stitch with which
you are familiar, such as flat stitch,
stroke stitch, cross stitch, fishbone
stitch, herring-boning, etc. The out-
line only may be done, according to
the character of the design, or a por-
tion of it filled, orentirely worked over.

IN ECRU AND WHITE.

rows in each line, the
two outside being in
ecru and the centre
white.

The edging is simply
a straight stitch over
two threads, leaving
two between the
stitches, then a row of
square back stitch
worked thus : — Make
a horizontal back
stitch over two
threads, cross over
two threads above
these two and make
another back stitch, this gives two
sides of a square, make a back stitch
over next two threads after the first,
then another after the second and so
on, working these two rows to the end,
then return and work the other two
sides of the square in the same way.

The second sample is also worked
in stem stitch in three shades, green,
tan, and white. The tan color is
worked first in a simple design of
diamond shape, inside this there are
three rows of white, all worked in the
same way, then one of green, leaving
the centre unworked. Outside the
tan row there is one of white, then
another of green. In the half-diamond
space there is a vacant row after the
green followed by a small green angle.
A row of square back stitch finishes
each edge.

This embroidery will be very
fashionable for trimming linen cos-
tumes the coming summer, and as
the machine-made kind cannot at all
equal that made by hand, there is an
opportunity for even-one to make
her own trimming in this lovely,
fancy-work. The chief beauty of it
lies in an artistic blending of color,
vivid tones of purple, green and crim-
son, are blended with blue very
effectually by separating the shades
with a row of black. Ecru and all
yellow shades are combined with

For Costume
Trimmings.

white for the quieter kinds, and for
evening wear, gold and silver threads
are much used, combined with other
colors which must match or contrast
with the dress worn.

For trimming the collar and cuffs
of a tweed costume or other material
in which the threads cannot be
counted, the design must be trans-
ferred to the material. It is then an
easy matter to work the outline with
regular stitches and fill in the design
as already explained. For this pur-
pose too, the outline ma}7 be made of
fine braid and then the colored thread
fills in the rest of the design.

Vegetable silk or any of the mer-
cerised cottons may be used, as well
as fine woollen thread and ordinary
embroidery silk.

For washing materials Ardern's
' ' Star Sylko ' ' is very suitable.

Ribands for trimming hats are easily
worked with the aid of a good transfer
design. Choose a detached spray,
and keep the remainder of the riband
covered while working each, in order
to avoid soiling the work.

A Linen
Cover

for a
tea cosy
orna-
mented

with
Bohe-
mian

Lace.

The

herring-
b o n e
stitches
in the
lace com-
bine well
with
drawn
work.

Limerick Tambour Lace.

Limerick "tambour" lace is suitable
for collars, handkerchief borders and
jabots, as well as for trimming evening
dresses, etc. This lace is very easy to
make, as it is composed almost entirely
of the ordinary crochet chain stitch
worked through the meshes of the net.
A pattern of the design is essential, and
this may be drawn on a sheet of white
paper with pen and ink, or any transfer
design can be employed, provided the
motif contains continuous lines. The
best Brussels net, a small tambour
frame, a fine crochet-hook, Manlove's
No. 60 and No. 100 Irish L,ace Thread,
and an ordinary fine sewing-needle
are the materials required. The net
is tacked carefully over the design,
then with the finer thread the design
is traced by running the stitches in
and out through the meshes over the
lines in the design, going over the
outline only. Trace a line for the
edges at both sides. Remove the net

A very
Handsome
Handker-
hief Bor-
der which
is not diffi-
c u 1 t to
make.

from the design by cutting the threads
on the back of the paper, pick out the
loose bits of thread, and arrange the
net in the tambour frame.

With a crochet-hook make a loop
on the end of No. 60 thread as if for
a crochet chain, withdraw the hook
and hold this loop with the fingers of
the left hand under the frame up to
the point in the design where you
wish to begin, holding the tambour
between the thumb and forefinger.
With the crochet-hook in the right
hand, insert it down through the
mesh over the loop and draw the loop
up to the right side, insert the hook
through the next mesh (over the lines
throughout) and draw up a loop of the
thread, pull this loop through the loop
on the hook, insert the hook through
the next mesh and draw up a loop,
•then pull this through the loop on
the needle, and so on.

This is the entire stitch, and only
requires a very little practice to make
one proficient. Having gone over the
outlines, the centres of the leaves and
petals are filled in with a couple of
rows, using the finer thread, or the
inside may be filled with fancy lace
stitches. Scrolls are usually made
solid, that is, close rows of the ch
stitch are worked into them. The
edges are then worked with a row,
having a second row worked right
through the centre of
the first, the net is
next cut away from
the lower edge, and
the lace placed be-
tween the folds of a
piece of damped
calico, press with a
hot iron until the
calico be dry, remove

Pretty
Laces.

A SIMPLE LACE PATTERN

the calico, and
finish off on
the back of the
lace itself,
when it is
completed.

This Limerick
Tambour Lace
is often finished
with a row of
pearl edging
sold for the
purpose. This
is top-sewn to
the edge, using the finer thread.

To make the edges of the lace more
durable it is usual to work a double
row of ch around the edges, then cut
away the net from outside the design,
allowing a margin of two rows of
meshes outside the outer line ; these

Limerick '

Limerick " Run " Lace is one of the
most expensive of the Irish laces.
Exquisitely dainty in appearance and
extremely fine in texture it requires
the very best and finest of net made
specially for the purpose. The design
is placed under the net and the out-
line gone over with running stitch
through the meshes. For this pur-
pose very fine thread, Limerick Lace
Thread No. 250 is used doubled. The
single thread is employed for darning
the meshes within the design, running
the threads through the %S$ffi&$

meshes first in one direc-
tion and then across. Any
lace stitch may be used
for the filling, and as a
general rule the back-
ground is left clear. A
fine pearl edging sold
for the purpose is usually
sewn round the edges of

rows are twirled under when sewing
on the edging. For the handkerchief
border, the inner edge is top-sewn
to the lawn centre, allowing the two
rows of margin, and twirling these
when sewing on the wrong side to the
hemstitching.

Run " Lace.

this lace to finish it. The pretty
design illustrated would be suit-
able for
a hand-
kerchief
border,
or would
make a
delight-
ful cor-
ner for a
square

collar. *
B

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A PRETTY CORNER DESIGN.

C.N. D.

My Workbox,

BY THE EDITOR.

My interest in work-
boxes dates back to
the time when I first
read The Wide Wide
World, and that was
^well, it was the first
long story' book that
I possessed for my
very own ! Up
to that time, my
personal library
had consisted
of children's
•coloured toy
hooks, fairy
tales and the
like. The ad-
dition of The
Wide Wide

World (with roses and forget-me-nots
on the cover) marked a distinct epoch
in my life !

It was after I had read that enthral-
ling chapter, where Ellen goes to
the store with her mother and buys
delightful things, and a work-
box is among the parcels sent
home, that I set to and tidied
up the small wooden box (and
a very inferior bit of furniture
I felt it was, too, after the
delightful affair Mrs. Mont-

THE WORK-BOX

gomery bought
for her daugh-
ter !) thereby
raising great
hopes in the
feminine portion
of. my older
relatives. They
trusted it was an
indication that I
was going to turn
over a new leaf,
and be more
diligent with iny
needle ; alas ! it
was nothing of
the sort. As a
small girl I detes-
ted needlework,

and as a big girl I was vastly superior
to everything of the kind. Plain
needlework I felt was so sordid ; and
fancy needlework so inane and futile !
When I was in my early teens I
was quite convinced that I owed it
to the world at large, to say
nothing of posterity, to devote
my intellect to far weightier
matters and deeper matters
than anything connected with
needlework ; so you can see
that the hopes of my elders

The article on the left is for a small spool of silk The next is a carved
screw for holding material firmly to the edge of a table. The ^tre article
has a tape and measure at th3 top, bees-wax below and a V™c™*™$ "J ' Jg
base. The next is a tape meisure, and the ivory box on the right holds
glove buttons. The carving on the ivory in each case is very fane.

A Fancy Holder for a reel of cotton. The top is
mother-of-pearl. The Ivory Mallet is a pin-cushion.

•were but short-lived, The only
Treason I tidfed up my old work-box
was because I was convinced .that that
perfect child,
Ellen Mont-
gomery, al-
ways kept hers
•scrupulously
tidy ; and as I
was modelling
myself entire-
ly on her lines,
naturally I felt
I was bound to pay attention to every
•small detail.

One of the humours of life as we
grow older and leave our teens behind,
is to look back and remember what
self-opinionated little im-
portances we were at about
sixteen ! How fixed were
our views of life ! How
we knew everything ! How
certain we were that our
ideas would be precisely the
•same for all the rest of
time! And how original and
wonderful we considered
those ideas of ours to be!
{and, incidentally, what a trial most
of us were to our families at just

about that age !)

Still, it's a merciful thing that in
the majority of cases we gain a little

wisdom as we grow older,
and learn that there may,

after all, be some worth

in the things we scorned

as youngsters. It's a

good thing, too, that our

tastes often become quite

healthy and-normal as

we proceed along the

""twenties." It was so in

This Crimson Silk Pin-
cushion has groups of
flowers and fruit finely
carved in ivory on each
side.

Why it was
obtained.

my own case, I believe ; for it was
just about then that I began to
develop an interest in needlework.
It came to me as a sort of reaction
after too much mental work, and the
inevitable
n e r v o u s
breakdown
that finds
out most
girls wh o
are imbued
with the
notion that their intellectual attain-
ments'are of vast importance to the
nation !

And after the breakdown, when I
couldn't bear the sight of books or
the sound of music, I found myself
actually doing needlework, and liking
it too ; and the fascination
of it grew upon me very
rapidly, till now — I really
don't know what I should
do if I hadn't needlework
to fall back upon, as a
recreation, when I get over-
done with the wear and tear
and strain of work in our
great city.

I always feel sorry for the
business woman who hasn't found
out what a charm and solace there is
in doing sewing or crochet work, or
knitting, or embroidery, after a day
spent in wrestling with the stern
commercial
side of life.
She misses
so much.

But to re-
turn to the
subject of
work-boxes.
By the time I
found out for

A round Pin-cushion with Chinese carving

on the top. The small barrel is a tape

measure.

The Editor's
Work-box.

myself what a vast amount of pleasure
can be produced by a ball of crochet
cotton and a hook,
my old work-box
was no longer in
existence.

A. Wooden Case for packets of needles,
brown ornamented with gilt.

I made shift with a work-basket and
similar frauds, till at last it was borne
in upon me that I must have a work-
box, and a very comprehensive one
too. I had all sorts of oddments in
the way of fittings, and I got tired of
rattling them about in an incapable
work-basket, and
diving for them to
the bottom of a
much-tangled -up
work-bag.

I wandered around
the shops, but the
work-boxes they
showed me seemed curiously inade-
quate in every particular — there was
no room for anything in most of
them, and they were singularly un-
interesting as a whole in their
appearance.

Nothing so convinces
you that you want
and must have a thing ,
as the fact that you
can't get it ! and by
this time, all ruy spare
moments seemed oc-
cupied with a craving
for a nice work-box,

Beeswax,
mounted with
mother-of-pearl.

A mother-of-pearl and gilt
thimble holder.

I even started to design one at last,
only the design was never finished,
because I could not make up my mind
as to the exact number of compart-
ments I should require.

Fortunately, when my need was
becoming most acute, someone sent
me a present of a box, that not only
had as many compartments as I had
longed for, but ever so many to spare ;
moreover, the box was so beautiful in
itself, that it was, and still is a con-
stant joy just to look at it.

This box is antique, and was
evidently made in the Bast. So solid
is it, that it is
almost as
heavy as a sew-
ing machine
to lift; but it
stands always
on a conven-
ient side table,
so its weight
does not worry
me. It is
inlaid most
exquisitely
with ivory,
tortoise shell,
silver, in addition to light and dark
wood ; the workmanship of the whole
is wonderful. There are twenty-three
roomy compartments in the top tray,
and vast space below.

At last I had a re-
spectable box for my
many oddments; and
it was not long before
the collection grew ;
friends contributed
items; relations turned
out ancient put-away
work-boxes and found
little fittings which

This ancient little Dutch
Doll is an Emery Bag.

A Needle-case covered with blue, green, red,
white beads.

they sent me. And in a very little
time it transpired that I had a work-
box that was really something worth
caring for and cherishing. The hobby
has grown till now my work-box stands
for all sorts of pleasant memories, and
I can see myself in my old age getting
quite garulous over it !

Now for the contents. There are
tiny pin cushions of various kinds,
round, square
and heart
shape, some
of ivory and
silk, with the
fi n e s t of
Chinese car-
ving on the
top. A carved
ivory box
holds small
glove buttons. The little Brass Bear-
There are quaint long needle-cases,
some are carved, one very uncommon
one is of bone, covered with a fine
network of beads, these hold silver
bodkins, beautifully engraved. Tape
measures appear in various forms and
unwind themselves either from a
barrel, or by turning the tail of a
don-key, from the top of a kind of
pepper-box lighthouse.
This last is a noble r
ornament, because, in
.addition to the tape
measure, it provides a
pin -cushion at its base.

and

Its

Contents.

and a piece of wax for waxiiig
your thread, half way up.

There are quite a number of
ornamental devices for holding
bees-wax, some with silver ends,
one with mother-of-pearl out-
side. Emery-bags also prevail,
one taking the form of a charming
little Dutch woman in a full green
silk skirt. This is well over 60 years
old.

There are needle books with various

A pair of Silver Scissors-
appropriate mottoes, such as "A stitch
in time saves nine," a little wooden
case for holding packets of needles,
one or two carved wooden boxes for
hooks and eyes, a pearl thimble case,
an old-time " housewife," a little brass
bear with a head that lifts up and
makes room for darning needles
inside him. (By the way, he is
evidently the twin brother to the
little brass bear described by Mrs.
Barclay in The Rosary.)

Perforated cardboard was much
patronized by our grandmothers.
Among other things, I have an
ornamental case for holding court
plaster, made with perforated card-
board worked in red and blue silk. On
one side are the appropriate words —

A Carved Needle-case.

The Editor's
Work-box.

Go, little case,
Thy kind assistance lend,

And cure when cut
The finger of my friend.

while on the back is worked —
Oh may you never, never feel
A deeper wound than this can heal.

Devices for holding silk when
wound were more popular in the past,
when silk was dear and mercerised
cottons were unknown . My work-box
contains both wooden and mother-of-
pearl silk winders, and a little carved
silk holder, with a top that unscrews
and a small hole at the side for the
silk strand to come through.

Gentlewomen of the bye-gone age
evidently indulged in note books as
pretty as any to be found to-day. I
have an ancient note-book containing
paper and an ivory tablet. The bind-
ing outside is dark leather stamped
very ornately with gold. In the
centre, both back and front, is let in
a medallion of the very finest Berlin
wool work I have ever seen. Each
medallion shows a group of roses and
foliage perfectly executed. Yet is
not more than an inch and a half
across. The book inside is gorgeous
with rose-silk pockets. In a flowing
Italian hand, that so well matches
the period of the book, someone has
written down notes of a sermon
preached at Cheltenham, but no date
appears (a truly feminine omission !)
It is possible that the same lady owned
the flat silver vinaigrette, opening
like a snuff box, that I keep in one
compartment, with similar relics. It
seems to suggest a hot day in church.
* *

Bait the work-box is practical as
well as ornamental. It is a matter of
puffed up pride with me that I can

invariably supply everybody's needs
in the way of haberdashery.

There are linen buttons of all the
orthodox sizes; glove and shoe
buttons galore ; hooks and eyes, white
and black, of all gardes ; cottons and
silks for mending every imaginable
shade of gloves, with lots of dress
colours thrown in ; white embroidery
threads and cotton lie in orderly
skeins, from size 1 onwards.

Friends try to catch me napping,
and come to ask me for things they
think I shan't have in stock, but I
can usually supply them. White
elastic I was asked for recently, also>
narrow linen tape, and black velvet
binding for a skirt-bottom, I pro-
duced them all, trying to look modest,,
though I knew the inquirer didn't
really need them. I told her I could
also supply frilled elastic for sus-
penders if she required any, and
small brass or ivory rings for sewing
on fancy bags, and pins with any
colour heads she liked to name. She
retired, duly discomfited I trust.

4 £

Now my reason for telling about
my work-box is to suggest to any
readers who have only regarded a
work-box as an uninteresting
necessity that they might do worse
than develop a "work-box hobby."
I really do not know of many things
that are more fascinating in a feminine
way.

There is something very pretty
about a well-ordered work-box, to
start with, and that in itself is a great
advantage. I like to look at the
rainbow-coloured silks and cottons,
at the lengths of pretty narrow ribbon,
for lingerie, at the gay little pin-
cushions, and the tiny bags made
from odd bits of flowery silk, that I

A Darned

Net Square,

•use for special buttons.
And then the utility
of it gives an added
charm. There is the
same sort of pleasure
in keeping it properly
stocked as there is
in looking after the
st ore-cupboard.
Moreover, this is not
an expensive hobby
One can add a few-
reels of cotton at
it does not amount
much.

A Box of Ribbon and Perforated

Cardboard, ornamented with a

•wreath of forget-me-nots and

roses.

time, and
to so very

The fittings, again,
seem to collect them-
selves. Once you start,
you wi 11 be surprised to
find how many trifles
turn up that you
pounce upon at once,
exclaiming, "Thatwill
just do for my work-
box ! " Whether the
things are mordern or
antique matters little,
so longas they are pretty in themselves
and can be turned to some practical
purpose.

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tEXAGONS AND 8Q0A.RE3 IN DARNED NET.

For directions see page 23.

Making Bohemian Lace.

A. BBOAD EDQ1.NU.

The novelty of this lace lies in its
simplicity of design and execution.

The design must form a series of
curves, in fact, any simple braiding
pattern can be followed for this make
of lace, so long as sharp corners are
avoided as much as possible.

Materials required : A very narrow
lace braid, or even tape of the
narrowest make will answer the
purpose, though the lace braid is
finer.- Tack the braid carefully over
your pattern. Fill in the spaces by
taking a thread from one side of the
braid to the other as for herring-
boning, but fastening the thread each
time with a sort of knot formed thus :
Hold down the 2 strands of thread

with the thumb, make a button-hole
stitch over these 2 strands. Draw up
tightly, thus forming a kind of knot.
Continue on opposite side the same.

To form a variety, the stitches are
made more closely together in the
narrow spaces, and the very wide
spaces are filled in in the same
manner, with a simple lace or button-
hole stitch.

In the more elaborate designs,
button-holed bars fill in the very
wide spaces.

This make of lace is most effective
for infants' garments, lingerie frocks,
jabots, and collars.

It also has a handsome effect when
let into table linen of a fine quality.

This could be inserted in the end of a Sideboard Cloth,
or in a linen Tea Cosy Cover, as illustrated on page 47.

The Educational Value of
the Doll.

The educational value of the Doll
is just beginning to be realized by the
mothers and teachers of small girls ;
so that at last we have the making of
doll's clothes included in the curri-
culum of certain schools.

This is undoubtedly a step in the
right direction. The little girl who

when she in turn has little people to
sew for. In the same way, the small
girl who has been shown how to
bring I^ady Arabella's " last season's
party frock" up-to-date, by altering
the sleeves, or the fulness of the
skirt — as the latest mode may
demand — will save many a dress-

Inser-
tion
with
only
simple
stitches

An
Edge

Bohe-
mian
Lace,
show-
i n g
button-
holed

has taken a part in making her doll's
wardrobe, and then in keeping it up-
to-date, will find that the knowledge
she has gained in this way will
be invaluable to her in after life.
The child who has helped to put
together her doll's combinations, will
have no difficulty in making her own
later on, neither will she be perplexed

maker's bill presently, when her own
frocks show signs of growing out-of-
date.

But this instruction as to the doll's
wearing apparel is only the beginning
of the educational possibilities of the
doll. The next step is to encourage
the little girl to see to the household
linen and general furnishings of the

The Value of
the Doll.

doll's house. If a real doll's house
is not forthcoming at the moment, an
excellent substitute can be made out
of a wooden box turned up on end,
with a few shelves put in to supply
the necessary succession of "floors."
Once you have contrived something
that you can call a doll's house — and
the child's innate love of "make
believe" will enable you to do this
easily — doll's furniture can b«
procured at very little cost, and the
etceteras can be supplied by your own
ingenuity.

First the bedclothes and bedding
should be made. It will be best for
the child if you make all this your-
selves, rather than buy the small
bolster and pillows at the toy shop.

Show her how to make the small
feather bed, and how to stuff the
pillows. She can make a little
mattress from small cloth clippings;
this will teach her the value of tiny
waste bits of material. Have every-
thing as complete as you can, from
the under blanket to the ornamental
bedspread ; and show her how to
make the bed in a proper way. A
valance will be received with accla-
mation, and you can show her how
to fasten it on with tapes.

A nightdress pocket is sure to
delight any little maid; and in using
it for Lady Arabella's elegant night-
gown, she will learn, unconsciously,
what she must do with her own.

A little Linen Bag can also be made
to serve a useful purpose; and if Lady
Arabella is always taught to put dis-
carded garments in her Linen Bag,
preparatory to sending them to the
wash, the other little lady will be
learning tidy methodical ways at the
same time.

Doll's cupboards can be bought at

most toy shops for a few pence; turn
one of these into a linen press, and
have it furnished under your super-
vision with tablecloths, serviettes, tray-
cloths, towels and toilet covers, as well
as with bed linen. Shew the little
housewife how to ornament the guest
towels, how to fold the serviettes and
tablecloths correctly, how to put a bit
of edging round the toilet covers and
tray cloths, and how to let in a fancy
corner into the 5 o'clock tea-cloth.
If she is old enough to do some of the
ornamentations for herself, so much
the better; let her try to do a very
simple cross-stitch border round a
sideboard cloth for Lady Arabella's
dining room ; any coarse piece of
canvas will serve, so long as the
cotton is a pretty colour.

In this way you will not only be
instilling in your child a love of
housewifely things, and fostering the
instinct for home-making that is born
in most baby girls, but you will be
teaching her the right way to do-
things, and what is required in a
properly conducted household; also,
you will be training her to make the
things she needs. And none of this
need be any tax on the brain. It will
all be absorbed with the utmost
delight, as play.

But do not misunderstand me. I
am not advocating that the mother
should invariably supervise the child's
play.

I think a child should be allowed
the old-time freedom in this respect :
rthe modern custom of helping or
training or assisting a child to play
only tends to dwarf its self reliance
and stunt its ingenuity. But while
the little girl has plenty of time to
amuse herself with the doll's house
as she pleases, it is easy for the mother

Teaching a Child
to Sew.

to get in her instructions by the way.
She can announce that she is going
to pay a ceremonious visit to Lady
Arabella, and the house must be put
in applepie order for the occssion.
Then the guest towels can be hanging
over the towel horse : fresh covers on
the drawing-room cushions, the best
bedspread over the bed, and the
serviettes in their bead-rings round
the dining-room table.

Having the child make the house
and bed linen teaches her how to sew
with very little irksomeness. Each
article is so small that it can be
quickly finished, and is not like the
large pieces of work that were given
children to do a generation ago. Few
children can get up any enthusiasm

over hemming a duster! But it will
be the exceptional girl who is not
eager to hem the small sheet for the
doll's bed and put a piece of lace at
the edge ; and if mother can find —
or evolve — a monogram or initial for
the pillow-case, needlework will take-
on an added delight in the eyes of
the small person. To learn to make-
a buttonhole properly is dull work,
for a young girl, yet it is necessary,,
as we most of us need this knowledge
as we grow older; but if she learns
the stitch in the first instance by
buttonholing the top of the doll's
blanket a bright blue or red, she wilt
be acquiring useful information as
well as a good deal of pleasure in
doing this piece of work.

For a Curtain Border.

Darned filet net is one of the most
artistic forms of fancy-work. It is
always in fashion and affords ample
scope for one's own designing, which
can be carried out to our own ideas
of the manner in which it should be
worked. Simple darning stitch is
^used, in which the thread is run in
and out through the meshes in
sufficient rows to fill a line of the
meshes in any direction required.
The outline of the motif is worked

in this way with soft embroidery
cotton, then additional value is

assured to the work by -,-r—

"filling in" with any fancy

stitches with which we are

acquainted . This design ,

while suggested for a cur-
tain border, will also serve

for an insertion border for

a tea-cloth, cushion-cover,

or it could be adapted for

a delightful cot-cover over

a pink or blue satin lining.

For this purpose a centre motif, or a
group of them, such as that in the cor-
ner could be put in the centre of the
cover.

EFFECTIVE

DESIGN IN

DARNED

NET.

A Lesson in Hemstitching.

TT1

Pig. 1.— SIMPLE HEMSTITCHING.

The best finish
for all kinds of
work that require
frequent washing
is the hemstitched
hem. This can be
of various depths,
and either plain
hemstitching o r
very elaborate work
of the "drawn
thread "kind, with
fancy stitchery.
L/inen sheets and
pillow-cases afford
samples of articles

Pig. 8. — DOUBLE LADDER STITCH.

openwork liked, must be drawn from
the material immediately under the
edge of the hem.

In Fig. 1, which shows plain hem-
stitching, 4 threads only were drawn.
Mark the depth of the hem required
and draw out the 4 threads below the
line where the edge of the hem is to
be. Turn down the hem and tack it
in place. With the embroidery cotton
or linen thread, and an ordinary
sewing needle,
commence by fas-
tening the thread
to the end of the
hem with a few
stitches, at the left
side, * slip the
needle in from
right to left under
3 of the threads,
draw it out and put
the needle upwards
through the edge
of the hem under
the 2nd horizontal
thread, * repeat.

Fig. 5.— THE SERPENTINE STITCH.

which are improved by a deep hem
ornamented with some openwork
veining. Coloured embroidery cottons
or white are used with good effect, and
the number of stitches that can be
•employed is indefinite.

For all hemstitching a number of
threads, depending upon the width of

Some people work from right to
left of the hem. In this case the
working thread is held in a
loop with the left thumb,
while passing the
needle under the
fabric threads,
and the needle
brought out
through
t h e
loop.

Fig. 2.— SHOWING HOW TO TURN A CORNB1

The black line along the bottom is
merely the end of the cotton.

Right and
Wrong Sides.

iliiiiiiiifififiiiri

Fig. 8,— TWISTED OPENWORK BARS.

Figure 2 shows how to turn a corner
for this plain hemstitching. You
mark lines for the
hem and draw the
threads as before,
then fold the
material diagonally
through the corner
as in the illustra-
tion. This gives
you a small tri-
angle in the corner.
Fold back the dia-
gonal edge of the
triangle to get the
half of it and crease
along this line.
Now back-stitch
along the creased
line down to where
you turn in the edge of the hem.
Cut away the corner outside the seam,

Fig. 9.— WRONG SIDE OF DOUBLE
LADDER STITOH.

Fig. 4. — THE LADDER STITOH.

which you fold down flat, turn this-

corner section inside out and you have

a neat line on the

••••^••^•fl wrong side of your
hem going diago-
nally from the
corner to the edge
of the hem.

Figure 3 shows
thishem with a row
of stitching which
twists the open-
work bars. Pro-
ceed as before with
the hem, but take
an even number of
threads with each
stitch ; in this case
4 were taken . Fas-
ten the thread to the
end of the openwork at the left, * insert
the needle after the next 4th thread,

s^jffiMsifflffi^

Fig. 6.— DOUBLE SERPENTINE STITCH.

Fig. 7.— WRONG SIDE OF DOUBLE
SERPENTINE STITCH.

A Lesson in
Hemstitching.

•and turning the point backwards to
left again bring it up under the 3rd
•and 4th threads, over the 2nd and 1st,
twist the needle round underneath
this group and bring it up again after
the 4th thread, * repeat.

Figure 4 shows the hemstitching
worked at both sides of the openwork .
This is known as the ladder-stitch
and is worked the same at both sides;
instead of putting the thread through
the edge of the hem at the other side
you put it under the 2nd horizontal
thread in the edge of the material.

Figured. — The serpentine stitch, for
which a greater number of theads are
drawn, eight being taken out for the
sample. An even number of threads
is necessary. Hemstitch with 4
threads, then at the other side hem-
stitch in the same way, but take the

A Good Finish

Fold canvas back as far as work is to
go that there may be the firmness of
double material for the long stitches.
The illustration will show the working
of alternate colours.

Place a netting inesh of ivory or
steel,
some-
times
wood,
even with
the edge.
Take a
thread-
ed rug
needle
over this
from each
hole in

the canvas 10 times. Next the other
needleful of second colour 10 times.
When the mesh is full, the upper
part can be made from 9 threads.

Make 9 stitches of graduated lengths,
the longest one 9 threads high, cross

last half of the 1st group with the 1st
half of the 2nd, and so on.

Figure 6. — The double serpentine
stitch. Here 2 groups of thread are
drawn, leaving a plain strip of material
between them . Draw 8 threads, leave
4, draw 8. Hemstitch the top row and
the lower edge, then hemstitch at the
sides next to the plain strip, but
instead of putting the needle through
the material take a stitch at each side
alternately.

Figure 7 shows the wrong side of
this hem.

Figure 8. — These are plain bars
worked as in Fig. 4, but with a plain
strip as in No. 7, which is worked in
the same way.

Figure 9 shows the wrong side of
Fig. 8.

for Canvas Work.

corners. These should be the same
colour as the tassel. The shorter and
more open threads the reverse way are
the colour of the next tassel, the centre
longest one first, three each side, leav-
ing a clear opening between each two.

The
mesh can
now be
d r awn
from
throu gh
the loops
along it.
Wind
round
and cut
once 20
strands

of each colour, place a short length
of the thread through the loops
and hold the cut ends taut to them
and tie tight through *the middle,
pulling down firm, and afterwards

clipping even.
62

The Marguerite Glove and
Handkerchief Sachet.

The accom-
panying illus-
trations show
something
quite new in
the way of
decorating a
glove and
handkerchief
sachet. The
very realistic
marguerites
are made by
covering a
shilling -sized
button mould
with satin,
silk or sateen,
and then sew-
ing on to the
wrong side,
some old-
fashioned
white vandyke
braid. This
braid should
be put on
with an "over-
sew" stitch,
point by
point, push-
ing each as
closely to-
gether as
possible.

THE GLOVE SACHET.

When finish-
ed a running thread should be placed
through the centre of the braid, right
round the circle, in order to keep
each "petal" in position.

The vandyke braid used in these
designs is three-quarters of an inch
in depth.

The buds
consist of six
points of braid
gathere d
tightly to-
gether, and
enclosed in a
li ttle silk
calyx. The
raw edges
should be
turned in-
wards, and
running
stitches used
top and bot-
tom.

The tubular
cord represen
ting the
b r a i d i n g
stems is made
by covering
ordinary cord
with silk or
satin. As this
is sometimes
rather stiff,
however,
instead of
using the soft
cord, three or
four strands
of wool will
be found
much easier,

as it will turn and twist more
satisfactorily. After preparing the
cord, place it carelessly on the sides
of the sachet, turn it at intervals,
and tie a loose knot or two. Let it
" wiggle " itself into a pattern.

The sachets are made in the usual

The Marguerite
Handkerchief Sachet.

way by covering fairly stiff book
muslin with a thin layer of wadding,
then tacking over the outer side,
sateen or silk. Work all the out-
side decoration next so that the
stitches can be taken right through,

and finally line the inside. The
fastenings oil these satchets are made
by inserting little stiffened silk tabs
between the outer cover and inside
lining, and sewing on ordinary spring
punch buttons.

This

ban cl ker-
chief
sachet is
made in
the same
way as
the glove
sachet.

The only
difference
is that
ordinary
cord is
used, and
not the
tubular
cord.

Needlepoints.

Never hem or machine around the bottom of a light frock
that is liable to shrink in the washing or cleaning. Fasten the
hem down with French knots. These can easily be cut if the
ckirt needs lengthening.

Always turn up a deep hem on light skirts, for use in case
of shrinkage.

Hem-stitching can be done with far less strain to the
eyesight if a dark finger-shield be used. With this the white
threads show up very clearly.

Floor rugs that show any tendency to fray at the ends
should be bound with Carpet Binding, which can be procured
from any upholsterer or furnishing draper.

Beads and Bead=work.

The woman for whom beads have
QO attraction is not easy to find. •
An admiration for beads is a char-
acteristic of women of most
nationalties. In the present day
it is possible to get some really
beautiful beads, and they can be
used in so many different ways-
that delightful necklaces and
chains can be made. Some of tht
season's novelties are really lovely
A few are illustrated here, but in
pictures of this kind it is quite
impossible to portray the beaut}
of the beads. Still, with some
little description, these will give
an idea of what can be obtained
and made.

The necklace shown at the top of
this page is made of Venetian beads
of a lovely shade of Turquoise, in-
terspersed with gold filigree beads,
the tiny beads being of metal, the
same shade as the Venetian. As will
be seen from the illustration, a double

A MOST SIMPLE CHAIN TO MAKB.

Or TURQUOISE VENETIAN AND
GOLD FILIGREE BEADS.

row of small beads is used for the
upper portion , but after being threaded
through the long bead on each side,
the threads divide, and a pendant
effect is given. A chain of this
description is not at all difficult to
make.

Another illustration shows a very
effective necklace made of two kinds
of Venetian beads, the dark ones
being black covered with exquisite
little coloured flowers, while the
lighter ones are of crystal and gold,
with spots of pink. Between are gold
torse beads and gold glass bugles.
The chain is made on one thread only
and is the simplest kind to make, and
it is — as will easily be seen— most
effective.

The little bracelet is made on two
rows of bead wire, and is of Cats'
Eyes (flat green beads) and small
aluminium beads. A great advantage
of these aluminium beads is that they

C.N. K

The New Bead
Necklaces.

will not taruish. These beads are,
of course, equally suitable for neck-
laces and chains, and also for hair
ornaments

The largest illustration shows
several chains. A particularly pretty
one is the second from the top. This
is made of one of the prettiest kinds
of beads — the medallion. This is a
flat round bead, and one which is
preferred by a good many, because it
shows so prettily on the blouse. This
particular chain is of an exquisite
shade of blue, but these beads can be
obtained in other shades. The small
beads used here are silver metal
beads, while at each side of the
medallion bead is a gold torse bead.

The illustration immediately below
the medallion necklace shows one
made of Venetian beads, the par-
ticular attraction of which lies in the
fact that no two Venetian beads used
in its manufacture are alike. The
connecting beads are small gold

filigree (next to the Venetian beads)
with gold metal beads in between.

A section of a long mosaic bead
chain is shown under. This gives a
pleasing example of how pretty a
colour scheme may be obtained with
fairly sombre shades. The actual
mosaic bead — the large one — has
tones of green, yellow, blue and
white. * Next to it is a green bead,
2 small gold, 7 bronze, 2 gold. Then
follow a brown bead the same size as
the green referred to, 2 gold, 7 bronze.
1 gold, 52 tin}7 green metal beads, 1
gold, 7 bronze, 2 gold, 1 brown, 2
gold, 7 bronze. 2 gold, 1 green, 2 gold,
7 bronze, 2 gold, 1 green, 2 gold, 7
bronze, 2 gold, 1 brown, 2 gold, 7
bronze, 1 gold, 52 small green, 1 gold,
7 bronze, 2 gold, 1 brown, 2 gold,
7 bronze, 2 gold, 1 green, 1 mosaic.
Repeat from *.

Those whose tastes run to more
delicate productions, however, should
see the Persian beads. A necklace of

This

shews a
number
of most
effective
necklaces

and
chains.

The
design at
the top is
eqnally
B nit able
for a Hair
Bandeau.

About Hair
Ornaments.

A Pretty
Tiara for
the hair
IB shown
here.

these is shown immediately below the
mosaic chain. These beads can be
obtained in various sizes and shapes,
and show for the most part, beautiful
pale shades on white grounds, giving
the beads the
appearance of deli-
cate china. This
particular necklace
is made on two
threads, which at
intervals are divi-
ded and then con-
nected again. The
colours in this are
Wedgewood blue,
pale coral, silver
and white, and it is
quite impossible to
describe the beauty
of this attractive
little article.

The top design shows a chain of
two sizes of a beautiful amethyst
bead, with small seed pearls between.
These amethyst beads, like the Cat's
Eyes, have two holes on each side,
.and therefore are always used with
.two rows of small beads. This fact,
.and the flat character of the beads,
-makes them very suitable for hair
•bandeaux, especially as this shape can
be obtained in other colours. For
-instance, the kind known as Fire
•Opals look very lovely in the hair,
also the Moonstone Jewels.

While on the subject of hair orna-
unents, the tiara shown is worth

Bar oque
Pearls
and Gold
Glass
Beads.

A BBACELET OP CATS' EYES
AND ALUMINIUM BEADS.

attention. It is made of Baroque
Pearls (gold coloured long beads)
with gold glass beads between. A
point about these Baroque Pearls
which makes them so useful for
wearing in the hair
is that they are
exceedingly light
in weight.

Hair bands can
also be made with
two sizes of pearl
beads, a rather
large size for the
edges and smaller
for the trellis-work
between — the
favourite mode.
Str i ng the pearls on
very fine wire, to
be obtained at any
large drapery shop (used for binding
the stems of millinery flowers,
principally). This wire is very fine
and pliable, and can readily be
"threaded" through the beads with-
out the use of a needle. Make the 2
edges of the band first and secure both
ends. Fasten the wire to the first
bead and commence the trellis-work
by threading as many beads as will
go diagonally through what would be
a square between the 2 edges, get the
first line right and the rest cannot go
wrong, foryon simply thread the same
number of beads each time and fasten
by twining the wire around that in
the outside rows between the 2 beads

Beads and
Bead-work.

where the lines cross, going from one
side to the other alternately, in right
angles. According to the closeness of
the lines, the number of beads between
each diagonal line must be even, or
divisible by 3. When the first row is
finished, fasten the wire to the edge,
after the second or third bead, and
thread the same number as before and
fasten after the second or third bead
at the other side. Fill all the angles
in this way, winding the wire once
around each line that it crosses, keep-
ing the number of beads at each side
of the trellis equal. The ends of the
band are generally finished with a
large " cabachon " made with pearls
or contrasting beads.

Net blouses for evening wear,
spangled with beads, are also very
easy to make. In Brussels net the
meshes run in straight lines and in

angles to each other, and it is an easy
thing to form geometrical designs by
simply following the lines in any way
selected. The beads are fastened in
place with a knot stitch for each, so
that in the event of one getting pulled
off, others near it may not fall off too,
as is the case with the bought beaded
net. Beaded fringes for edging
draperies are so easily made that there
is no need to describe them.

Then for belts, bags, etc., there is
the apache bead work that any girl
can easily make on the little loom
made and sold for the purpose. This
can be obtained from Mr. F. K.
Rogier, 14, High Street, Kensington,
London, \V., with all the materials
requisite. Here, too, can be had very
large and varied selection of beads of
every kind. He will send price lists,
sample cards, etc., on approval.

A Bag to Match Your Costume.

In the present day a bag is no longer
merely a bag, but it is a very im-
portant accessory
to the well-dressed
woman. The
shape, style, and
colour are carefully
considered, with a
view to suiting tin-
costume with
which it is to be
used. Such a one
can quite easily be
made, and will
give a very dis-
tinctive look. The
bag here illustrated
was made of satin
of a pretty mole
shade to match
the dress of the

wearer. The simple diagonal stitch-
ing was done in soft embroidery silk
of the same colour,
and at the points
of intersection a
coral bead was
sewn. This touch
of brighter colour
matched the coral
trimming in
costume and hat.
The cord and
tassels were of the
mole shade. A
bag of this kind
is quite simple
to make, and
practically any
colour -or
material could
be used

A Hardanger Embroidery

Cloth.

For this cloth a square of Hardanger
or Congress Canvas of medium mesh
is required, and the work is done in
Faudel's Vivid Lustre for the solid
work, and Faudel's Sylkoline for the
weaving.

Commence the work about 6 inches

middle of each. To turn the corner,
work a 2nd row of blocks by the side
of the upper half of the last diamond,
which row forms the 1st side of the
diamond for the 2nd side of the cloth.
The blocks of the lower half of the 2
diamonds are continued in a straight

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THE FINISHED CLOTH LOOKS VERY HANDSOME.

from the outside edge, and 120threads
from the middle of a side. Begin at
the lowest point of the 1st diamond,
and work 11 blocks of 5 stitches over
4 threads. Continue this up and down
for the 4 diamonds, working the top
halves to correspond, and leaving 4
threads between the 2 blocks in the

line across the corner, — there must be
an extra block worked in the space
between the two halves of the last
diamond, so that there will be 11
blocks on each side of this extra block
in this straight row.

Continue the diamonds, 4 on each
side, around the cloth, then work-in

A Hardanger
Embroidery Cloth.

the small inner diamonds. These
consist of 6 blocks at each side of the
diamond, and care must be taken to
work them exactly opposite the cor-
responding blocks in the outer dia-
monds, so that the threads are correct
for the openwork. The crosses are
then filled in, beginning in the centre
hole, 6 stitches are taken on the
diagonal, each stitch being raised a
mesh, and the 2nd row of each point
being taken into the same hole as the
first. The eyelet holes are worked at
each side in the space between the
points.

Next fill in the triangles at the out-
side of the diamonds with halves of
stars, making the stitches of the lower
side level with the lowest block of the
diamond. Fill in the single eyelet
holes between the points of the star,
and then work 4 eyelet holes together,
making the inside stitches of all 4
meet in 1 hole, which forms a small
hole in the centre.

Each side of the diamonds is next
outlined with 3 rows of backstitching,
making each row finish in the same
row of the mesh as the lowest block of
the diamond. An eight-pointed star
is worked on the outside of each
corner.

When the solid work is completed,
the threads are cut for the woven and
whipped bars, which are worked in
the spaces between the inner and outer
diamonds, the whipping and weaving
being worked in alternate diamonds.
For the woven bars the threads are cut
at the sides of all the blocks, and those
left are woven with a picot in the
middle of each side of each bar. For
the whipped bars there are more
threads left than cut. They are cut at
the side of the middle block of the
inner diamond.

Leave uncut the next 2 sides of the
blocks round the diamond, cut the
sides of the next 2, leave uncut the
sides of the end block, and repeat this

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SHOWING HOW THE COBNEB IS MANAGED.

Whipping and
Weaving.

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THIS SHOWS THE DETAIL OF THE DIAMONDS.

scheme around the inner diamond.
Then cut the same threads on the
inside of the outer diamond, draw the
threads and whip.

Next the 4 threads are drawn for the
openwork rows at each side of the
insertion, leaving 5 threads between
the half stars and the 1st drawn
thread.

At the inner side of the corner a set
of 4 blocks must be arranged to hold
the cut ends of these threads. This
will not exactly fit into the double
row of blocks in the corner, but the

sides must be made to face the threads
which are to be cut. The outside row-
must be held in some such way as is
shown in the illustration, or it could
be carried right across the hem. The
threads are then worked in sets of 3
bars — a whipped one on each side
of woven one, and the three are then
drawn together by small stitches at
the back. Bxcept in very fine canvas,
it will be found sufficient to whip 3
threads together, and weave two, as,
if more are taken, the effect is clumsy
when drawn together.

Braid Applique on Net.

Braid Applique affords an easy
method for ornamenting the fine
white net now so fashionable, and
some of the designs here illustrated
give some idea of the variety that can
be obtained in this way. The braid
is sewn on the wrong side to the net
in any simple design, then the net
may be pleated or tucked to form a
frill, or the work may be — and very
often is— further embellished by the
addition of fine crochet.

In most of the designs shown, the
tiny picot or Mignardise Braid (also
known as a fine Cordon Braid) has
been used in this way ; while in
one, a rather coarser braid has been
used as well. In two of the corners,
which would make handsome finishes
for net curtains, fine Feather-
stitched Braid has been employed. For
blouse trimmings, jabots, collars, &c. ,
Honiton Lace Braid can be used with
remarkably good effect. Braid can

also be applied to cambric or table
linen. Some of the illustrations
show suitable sprays for this. Others
will doubtless suggest themselves
to the worker. Although the crochet
is not necessary in every case, the
work is improved by it, and we give
directions for it.

A Handsome
Lace.

In the wide lace on page 72 a flower
spray of braid is shown, then as a
finish, a narrow insertion at each
side of a strip of the net is very
appropriate. Lace frilling is attached
to the insertion in which the pleats
are sewn down in the form of tucks,
three of which come down the centre
of each vandyke.

For the Insertion.

Use two strips of the braid and
fine crochet cotton, such as Peri-
lusta No. 80. * Into each of 2 picots
1 d c, 5 ch, miss a picot, 3 tr into
next, 5 ch, * repeat.

On the 2nd strip work the same on
one side but fasten in the ch imme-
diately before and after the 3 tr to
the corresponding chs on the 1st
strip.

At each of the outside edges put
1 ch, 1 d c into every picot.

The vandyke edging is worked in a
similar way for the inside rows, but
on the first strip * miss 5 picots after
the 4th group of 3 tr. 1 ch. 3 tr into
the 6th picot, then after the next 3rd
group 5 ch, 2 d c (into 2nd and 3rd
picots), 9 ch, 2 d c into next 2 picots,
continue the 5 ch and groups of trs
for 4 groups and repeat from * to the
end.

Work the 2nd strip in the same
way, commencing at the top of the
vandyke and join as in the insertion.

For the top outside row 1 tr, 2 ch

A Wide
Lace.

into every picot, missing 5 picots in
every point turned downwards and
omitting the ch between the trs at
each side.

The Lower Edging.

1st Row. — Commencing at the first
upward point in the picot before the
last group of 3 tr, on the other side
of the braid put 2 tr, * miss 2 picots,
1 tr into next, 1 tr into each of next
two 2nd picots, miss 2 picots, 2 tr
into next, 3 ch, 2 tr into 2nd picot,

3 times, 4 ch, 2 tr into 2nd picot,
8 ch, miss 2 picots, 2 d c into next 2,

4 ch, 2 d c into 2nd next picot, 5
times, 8 ch, 2 tr into 3rd next picot,
4 ch, miss next picot, 2 tr into next,

3 ch, 2 tr into 2nd picot 3 times, then
repeat from *.

'2nd Row. — * Into each of the 3
spaces before the 8 ch loop 3 d c,

4 ch, 3 d c, 10 tr, 1 d c into next loop,
7 tr, 1 d c into each of the 5 ch loops,
10 tr, 1 d c into next, into each of
next 3 spaces 3 d c, 4 ch, 3 d c, cross
over to the opposite side with 10 ch.
picot 5 of them, 5 ch, and repeat
from *.

A Continuous
Border.

Besides the two kinds of braid,
Manlove's No. 42 Irish Lace Thread
and some Breton Net are required for
this design.

The Leaf Motif.

Using the coarser braid, com-
mence about 1^ inches from the end
of the braid in one of the tiny picots
into which put a d c, 5 ch, picot 4 of
them, 1 ch, 1 d c into next picot, miss
next picot, 1 tr into next, miss next
picot, 1 tr into next, 5 ch picot 4 of
them, 1 d c into next picot, 7 ch, turn
these back to the 1st loop and fasten
with a d c, turn, over the 7 ch put 4 d c
5ch4dc, *ldc into the braid picot,

Braid Applique
on Net.

A CONTIGUOUS BORDER.

5 ch picot 4 of them, 1 eh, 1 d c into
next picot, 7 ch 1 d c into the picot on
last bar, 7 ch 1 d c into next picot on
braid, turn, over each of these bars
put 4 d c 5 ch 4 dc, * repeat for 4 bars
in the row.

Work a corner like the 1st, then
connect the 4 d c bars with 3 ch to and
from the picots in the bars and next 4
in the braid. Cross the ends of the
braid and secure with a single stitch
through the 2 together. Continue
with the 2nd leaflet by 4 ch 1 dc into
2nd picot, 6 ch 1 d c into 3rd, 7 ch 1 d c
into the 4th, 5th, 7th, 9th, llth, and
13th picots, then 7, 6, 5, 4 ch into next

4 picots respectively. Cross over to
the 1st loop into which put 4 d c, 4 d c

5 ch 4 d c into each of the others,
ending with 4 dc into the last. Cross
the braid, secure it as before, then
bring it behind the centre leaflet and
form the 3rd leaflet like the 2nd at the
other side.

The braid is continued in the stem
at each side of which there are * 2 d c
worked on the edge of the loop, 4 ch
I d c into the picot, 4 ch 2 d c on the

other side of the loop *, repeat around

the stem and all round each of the 3

leaflets.

The Oval Motif.

Cut off 7 inches of the coarser
braid. Into each loop at each side of
the picot put 1 tr with 6 ch between,
for 14 loops, form the braid into a loop
with these stitches on the outside of
it, cross the braid and secure it. Over
each 6 ch put 6 d c, 9 ch 1 d c into the
d c between the loops in the preceding
row. Into each 9 ch loop 1 d c, 9 tr.

Cross over behind the motif and
taking up apiece of Mignardise braid
join with a d c, 5 ch, 1 d c into the 9th
picot on the braid, 1 d c into 1 d c
into next picot. 5 d c over the 5 ch,
7 ch, 1 d c into the d c after the 9 tr on
the centre, * 9 ch 1 d c into the 4th
next loop on the braid, 1 d c into next
loop, turn, 9 d c over the chs, 7 ch 1 d c
into the d c after next 9 tr on the cen-
tre, * repeat all round, but after the
4th bar miss 4 picots on the braid
instead of the 3 until the correspond-
ing bars are reached at the other side,
then finish as at the beginning. Sew

the ends of the braid securely behind
the centre portion.

1st Outside Row. — 2 d c into 1st 2
picots on the braid, * 5 ch 1 d c into
next picot, 5 ch, 2 d c into next 2
picots * repeat all round.

2nd Row.—* 2 dc into top of 1st
loop, 2 dc into next loop, 5 ch, turn
back and fasten to the 2nd d c., into
this loop put 5 d c, 1 d c into the 2nd
loop in the 1st row, 5 ch picot 4 of
them, 1 ch, * repeat into next loops.

Work the 3-iuch stem on the
coarser braid with the same row as the
1st on the centre at both sides of it.

The Edging.

This is simply the 1st outside row of

For Pleated

Net.

the oval motif, repeated at both sides
of the strip of coarser braid with a
heading of 1 long tr, 5 ch into each
loop, finish with a row of 5 d c into
each space.

The motifs are tacked in position
on the net, then sewn on the back of
the work with fine thread.

A Pleated Net
Design.

Use 2 lengths of braid at the same
time. Into 1st braid make 1 d c,
6 ch, 1 d c into each of the next 2
loops, turn and work 4 d c over the
6 ch, then 3 ch into 2nd braid. 1 d c,
6 ch, 1 d c into next 2 loops, turn,
4 d c over the 6 ch, 3 ch, to 1st braid.

A PLEATED NET DESIGN.

Braid Applique
on Net.

Continue in this way till the corner
is reached, then from the 1 d c in top
braid carry 8 ch to lower braid, miss
1 loop, then work 4 d c in the 8 ch,
from the 4th d c work 4 ch back to
lower braid, miss 2 loops and join
with d c, work 4 d c over this 4 ch,
1 d c to middle of 8 ch, 4 ch back
again to lower braid, miss 2 loops and
return with 4 d c to centre of 8 ch,
3 ch to top braid and continue as
before. When the next corner is
required work in same way as just
directed, but this time making the

The pleated net should then be
tacked to the depth of the middle
part and the insertion placed in
position and edges sewn. Afterwards
place upon plain net and sew the
other side of the insertion,

A Leaf Spray
for Applique.

This suggestion could be used with
or without the crochet. If the latter
is used it is worked as the braid is
twisted in. In this case, begin a few
loops from the end of the braid : 1 dc
into each of 3 loops, 2 ch between

A LEAF SPRAY FOR APPLIQUE.

spray of 3 bars join to upper instead
of lower braid. When the loops of
braid are reached, curl the upper
braid to size of oval required and
work the stitches going into upper
braid through double loops at the
joins to hold firmly.

For the outer edge work 1 d c into
every loop with 2 ch between. At
corners miss 3 loops Round the
edge of the ovals work 2 tr into each
loop with 2 ch between. Have the
same number each side.

each 5 ch, 1 tr into the next 15 loops,
2 ch between each, 4 ch, 1 d c in same
loop as last treble, 1 d c in next 8
loops, 2 ch between each, miss 12
loops and bend round for middle
leaf, next 8 loops 1 d c 2 ch between
each 4 ch, 1 tr in same loop as last
d c, then 1 tr in each of the next
2j2 loops, with 2 ch between each,
8 d c, miss 12 loops and work 3rd leaf
same as first. Sew these in position
without wrapping more than possible,
then curl round the braid and catch

A POINT WITH
LACE BKAID.

down to
form a
little
finish.

For the
outer edge
work d c

2 d c into
each 2 ch
space, 5 ch 1 tr
into each tr of
previous row, with

3 ch between each.
For veins work a

chain from one of the
top loops to one of the
bottom loops of the leaf, d c
along 3 loops, work 5 ch and
join into the 5 ch of bar, work
over the remaining ch with d c's.

For the stem, from leaf work about
65 d c into loops, where stem twists
catch with needle and cotton, and
proceed with second set of leaves in
same way as the first.
Attractive Corners.

In the two
corners worked
with a fine
Feather - stitch-
ed Brai d , on
pages 77 and 78,
the work is the
same, but the
braid is arran-
ged somewhat
differently.

For this use
Feather -stitch-
ed Braid of the
finest quality,
and No. 50
crochet cotton.
For the motif
cut off a length
of 3-i inches of A NOVEL CORNER ARRANGEMENT.

Corner
Arrangements

the braid,
turn in
the ends
neatly and
s e c u r e
with a few
stitches,
then cut a
length of
2£ inches
and form the
cross, the triangle
is 3| inches of the
braid formed into the
angle in the centre. Sew
all securely together, commen-
cing at the edge of the left
arm of the cross, work a row
of d c into the openwork on the
braid and continue around the top
down to the opposite point, 15 ch to
cross the end of the arm, 1 d c into the
corner of the underside, make five 5 ch
loops fastened with d c into the spaces
on this side, finish the side with d c
into each space, work a corresponding

Braid Applique
on Net.

A COKNEB "WITH CASH 8 BRAID.

number of d c into the next side of
the triangle, then the 5 ch loops down
to the end of this strip, cross over the
end with 15 ch and work all the edges
in the same way, after fastening the
15 ch over the end of the left arm,
turn and put * 4 tr, 4 long tr, 4 triple tr,
4 long tr, 4 tr, then into each 5 ch loop
put 2 d c 4 ch 2 d c, omitting the picot
in the 2 loops at the end of each
angle, * repeat all round.

3rd Row.—* 3 ch, 1 tr 1 ch into the
space between the trs around the end,
make a length of chs sufficient to reach
the corner of the triangle and repeat
from *.

4th Row. — 2 tr over every 1 ch
between the trs, work d c closely over

the ch bars with a 5 ch picot after
every 5th dc.

The Corner Design.

Cut off the length of braid required
and form the angles for the corners.
These are sewn into shape.

For the inner side, 2 d c into 2 spaces
on the edge of the braid, * 4 ch, miss
2 spaces, 2 d c into next 2, * repeat all
round.

2nd Row. — Into every 2nd loop put
2 tr, 5 ch between, omit the chs in the
corners.

For the lower side of the top strip of
braid, work the 1st row as at the other
side.

2nd Row. — Commencing at a corner
loop in the preceding row, with 2 d c

into it, 5 ch 1 d c into each of the next

2 loops, 3 ch 2 tr into next, 3 ch 2 long
tr into next, 3 ch, 2 long tr into next,

3 ch 2 tr into next, 3 ch 2 d c into next

* repeat.

Work the lower strip of braid with
the 1st row at each side as in the
upper.

2nd Row on the Inner Side. — Fasten
the thread in the first corner loop
with a d c, 5 ch 1 d c into next loop,

* pass over 3 loops, 15 ch 1 d c into
next, 5 ch 1 d c into each of next 3
loops, * repeat.

3rd Row. — Id c into the top of the
corner loop, * 10 ch 1 d c over the
centre of the 15 ch, 6 ch 1 d c beside
the last d c, 10 ch 1 d c into next
loop, 5 ch 1 d c into each of next 2
loops, * repeat.

4th Row. — 1 d c into the picot,
10 ch, fasten this with a d c to the
corner of the first strip into the
second of the 2 d c, turn back on the
chs and put 12 d c over them, * 10 ch
1 d c into next loop, 5 ch 1 d c
in-to next, 10 ch 1 d c into next
picot, 6 ch

The Use of
Honiton Braid.

The 2nd, 3rd, and 4th rows at the
outer edge are worked like those at
the opposite side, but at each side of
a corner put 4 loops in the group.

5th Row. — Into each 5 ch loop put
3 long trs into each picot 1 long tr,
5 ch, 1 long tr, 5 ch, 1 triple tr, 5 ch,
1 triple tr, 5 ch, 1 long tr, 5 ch, 1
long tr. At each side of a corner
there are 2 loops together, into each
of these put the 3 long trs, turn and
put 3 loops of 5 ch each, fastened
between the trs with a d c, turn, 1 ch
1 d c into 1st loop, 5 ch 1 dc into each
of the others, 1 ch 1 d c into the top
of the tr, then put the long trs and
chs into both corner picots.

The motif and lace are appliqued on
the net by sewing the net to the braid
along both edges on the wrong side.

A Point with Lace
Braid.

This shows a light and pretty
idea for a corner. Here two
kinds of braid are used, and
very little stitchery is required.

— i.ji i . . . m . J , '• .UB The little

INSEBTION WITH DIAMOND DESIGN
IN MOSAIC FILET LACE.

See the directions
on page 103.

Darned HucKabacR.

Darned Huckaback is always in weaving, is picked up by the needle

good taste for towels. The work is following the outlines of the pattern

easy to do and inexpensive, and a chosen : in the towel-end, for a bold

very small expenditure of labour effect, every alternate one only of

suffices to produce, from a piece of these threads was lifted,

huckaback and a few skeins of thread, The threftds tQ be used ^ lustrines

notonlytowelsbutmanyotherarticles suchasArdern's Star Sylko, or Vicar's

that call for ornamentation that will "Brilliante," which can be obtained in
stand hard wear.

many pretty shades. These threads

Huckaback can be had in various usually come in 3 sizes, fine, medium

qualities; some of it is of "Old Bleach" ' and coarse, suited for fine, medium
linen, and beautifully soft to work and coarse "huck" respectively. For

upon, creamy in tint and rather coarse washing articles, boiling dyes should

in texture;

that known iBHB^iii
as

and which
a mixture
linen and
cotton, is a
purer white,
a finer mesh,
and for cer-
tain patterns

su
well

^>K

0 11 G AA7 p t" C r -•"*> ^ "^ * - "*• "* * 4T _*.^ ». :^ <* *.'*. "*. ^ ^ i^V

Hi c i e n 1 1 v *+ > X V^r > NVO > XXV*> > NV*0 > "VvV* > x xv^ > ^^SS* N

3 y *& *¥ ^7 \^ ty -*¥ ^

You will
see here 4
different
patterns for
darning on
huckaback,

and when Figt 1l A TOWEL IN °REEK FKET DESIGN.

you realize that Fig. 2 is a detail of be selected, for other goods, any pre-

the towel design shown in Fig. 1, you ferred colour scheme can be followed,

will understand how the effect varies In the towel in Fig l the threads

according to the texture of the back- are all taken up in diagonal succession,

ground material. not right up and down the fabric.

The towel being of rather closely For the longest lines of this Greek
woven huckaback, was worked with Fret design raise 10 threads in sue-
longer stitches than those used on the cession, working upwards and from
small detail. Usually every one of right to left ; pick up 4, passing
the raised threads that are the down again as if tracing an inverted
distinguishing feature in huckaback letter V; 3 threads still downwards

but from left
to right;

2 upwards,
forming a
small V; 2
downwards,
inside that V
as it were ; 3
up, follow-
ing theouter
left hand
slope and
towards the
right; 3
downwards
to the right,
inside the
first line of
10 stitches ;

3 down and

to the left ; then , starti ug 1 loop lower
still, begin again with a set of 10 loops
lifted. Continue thus all across the
work. The towel is worked in the
same way, but the darning is under
every alternate loop, thus enlarging
the pattern.

Jfc. ,

**jfJK+. j»y»

Simple
Designs.

jfilf

Fig. 2. THIS SHOWS THE DETAIL OF TUE TOWEL.

M f

jr. -r

Fig 4. A PATTEKN IN BOLD VANDYKES.

If other rows are needed to form a
wide band or all-over design, these
are easily arranged, as the illustra-
tions show, and dovetail exactly in
with one another and with the first
row worked.

The towel edge is embroidered with
scarlet ; for
^ the detail
deep yellow,
pale green,
bright blue
and cop -
||§ pery orange
threads were
selected.

Figure3isa
little design
t|| that was
.V] worked in
orange and
red; any pre-
ferred mix-
ture could be
made use of,
but the

C.N. F

Darned
Huckaback.

Fig. 3. A ZIG-ZAG PATTERN.

effect will be so different, according
to the tints used, as to surprise those
unfamiliar with the work. In suit-
ablecoloursthispattern is well adapted
for small articles.

The straight, orange threads are
laid first, and are in plain darning
carried along every alternate row of
loops on the huckaback, and passing
under every one of these loops.
The red lines
are in zig-
zags and
manage d
thus : raise 4
loops side by
side just
below a yel-
1 o w line,
bring the
thread u*p
and to the
right, under
the loop
where is also
a }• e 1 1 o w
strand; still
up and to the
right and the
nearest free
loop ; under
3 more loops
paralle 1
and going

towards the left, down and under a
loop where is a yellow strand, in the
same direction and lift the loop next
to the left of the 4 first loops raised ;
this is the first loop of the next set
of 4 that begins the repeat of the pat-
tern. Continue this in every row,
but alternate the zig-zags so as to leave
no free and unraised loops.

Figure 4 is also in bold Vandykes,
but here no 2 threads pass through the
same loop. Scarlet and pale green
were the tints used and the same out-
line was followed by each thread, only
the stitches were so set that those ol
one row exactly alternated with and
fitted in with those of the next/ Fom
strands were raised for the longest
straight stitch, 4 more upward and
slanting to the right, 4 down again
side by side with this first slant and so
on all along. This for the scarlet

The Uses of Darned
Huckaback.

rows; in the green, the 4 threads
raised came at the top and the slopes
pointed downwards and to the left.

Figure 5 is a sample of more elabor-
Late stitcher}* that gives somewhat the
effect of brocade. Blue and green and
blue and pink were employed for the
interlacings of the stripes, with
straighter lines of black. bordered with
dull gold. Black is exceedingly effec-
tive, but must only be used sparingly.
In this pattern the black thread must
be finer than the coloured, as a double
line of it runs through the same sets
of loops. Five straight stitches are
followed by one raised just above the
line (raised by one black strand) and
another raised just below the line and
for which the 2ifd black strand only
is emplo3'ed. The dull gold thread
follows the outline of the black, but
is raised to one strand beyond the
centre loop of the 5 straight black
stitches ; thus vandyking it a little.
Between the rows of black and gold
are the heart-shaped lines that give
one into the other. Seven strands or

loops are raised in succession for the
longest lines, and the thread passes
twice through the 4th of these after
completing half the width of the row
that it is working. It should be
noticed that the bands of pattern arc
arranged to set alternately, as this
looks far better, especially on account
of the black rows, than if the}* were
placed exactly one under the other.

Other patterns, easy and elaborate,
can be contrived by any worker who
has once successfully managed one
design.

As regards its uses, Huckaback
darning is adapted for use on towels,
cushion-covers, aprons, work-bags,
nightdress cases and many other
articles. Marking can be effected in
this manner and with good effect.

Two further cautions alone are
necessary: use a blunt needle (a rug
needle) and do not let any stitches be
seen on the wrong side of the work.
Begin and fasten off invisibly under
the stitches that are over the right side
of the huckaback.

A border for a Tablecloth, made by darning filet crochet, open mesh.
The edge is finished \vith loops and double crochet.

Finishing the Edges of
Cushions.

We have all made
cushions, and we have
all finished them off in
the ordinary way, with a
frill or a cord, and prob-
ably we have wished we
knew of some other way
we could finish them
for a change. There
are quite a lot of
other ways. A few
are shown and des-
cribed here, and as
you will easily see,
they can all be
enlarged and improved upon, and
you will doubtless think of a good
many more things that you can do
with the

covers.

First of
all, and

probably one of the most beautiful,
is the cushion cover with the
fringed ends shown. The sides
are finished with a little fancy
stitching that completely covers
the seams, and the ends are fringed
by unravelling the weft of the linen

An edge of this kinl makes a good finish.

A very simple stitch in embroidery silk.

and knotting the warp. This makes
a beautiful setting for the handsome
piece of embroidery. A working
detail, showing how to start the
fringe, is
shown ,
and full
dire c -
tions as
to how to
make

fringes appear on another page in
this volume. This is quite one of
the simplest of fringes, and yet most
effective.

vSome very attractive finishings may
be obtained by the use of embroidery
stitches, using several strands of
embroidery silk, and
employing quite simple
stitchery. The three
examples shown would
be quite easy to work,
and the additiojj of a
tassel at the corner is in
good taste. These are
all shown with the edges
opened flat, that it may
be more easilv scon how

This quite hides the seam, and is most effective.

Crochet
Finishes.

shown on the canvas
specimen, fold over
the raw edge, work
d c round the edge,
putting them close
together at the corner.

2nd Row.—* 2 tr

A crochet finish with the two
edges laced together.

they are worked. These
stitches of course quite cover
the seams.

Again, crochet can be success-
fully employed for this purpose.
In the crochet specimens two
patterns are illustrated, each
of which is shown opened flat
and also closed. Where a
cushion cover is of canvas, a
crocheted edge of the same
colour as the work on the
cushion is most suitable. A

•

TMs shows tha abov
finiBh with the twj
edges opened flat.

into d c, 2 ch, miss
1 d c. Repeat from *.
No d c's are to be
missed at the corners.
When the crochet is
finished, lace the
edges together.

A great ad van tage of
this simple lacing is
that it can easily be

A good edge for a Canvas
Cushion Cover.

little finish is crocheted
on all the sides, and
the crochet edges are
then laced together
either with very fine
cord or a length of
chain.

To make the edge

A coT*r of the design above with the edges laced.
85

Finishing the Edges
of Cushions.

undone, and
the cushion
slipped out
for the covet-
to be laun-
dered, no
further fas-
tening being
necessary.

The other
crochet edg-
ing is co m -
me need by
turning in
the edge and
working buttonhole stitch all round,
making the work - closer at the
fcorners.

1st Roiv.— * 1 d c in each of first
4 buttonhole stitches, 4 ch, 1 long tr
in each of 2 next stitches. 4 ch.

Commencing the Fringe
the- design below.

Repeat from

2nd Row.—
Into 1st space
made by long
tr and ch of
previous row,
put * 1 long
tr, 3 ch, 1 tr,
miss the next
space, and
into the next
put 1 tr, 3 ch,
1 long t r .
for Repeat from

*. Then lace
the edges together.

The fancy edge on the inner side
is made by catching each button-
holed thread and working into each
stitch like one side of ordinary
feather-stitching.

A Handsome Cushion. The side seams are hidden by the
embroidery stitching, and the ends are fringed.

Rhodes Embroidery.

This work
so called
:ause it
a revival
f some old
-reek
ork, done
y the
easants of
Rhodes
.land, of
h i c h
oine very
beautiful
specimens
in a y b e
seen in the
Victoria
and Albert
Museum. In this work, however, the
effect is produced by the threads being
drawn out, but no difficulty caused by
the drawing of threads presents itself
to the modern worker of Rhodes
Kmbroidery. The threads are simply

Fig. 1.

SHOWING THK WOBK BEING DONE.

A 1 '2 3 4 5 6 A

B 7 8 9 10 11 12 B
C 13 14 15 16 17 18 C

^-•iTc-si fore e d
f apart with

vjjiM a v e r y
coarse
needle,
and then

Ci- , i

^HK i) o u 11 d
.f with a
pp- s t r o n g
linen
PHI thread.

/^ Materials
Required.

The re-

; : q u i s i t e s
necessary
for this
w ork are
the design,
which can be obtained ready stamped
on the material for working, an
embroider}- needle for outlining the
design , embroidery cotton , a
"Rhodes" needle, for punching the
holes and binding the threads, and

With "Rhodes" Needle under
and out at 7.

Fig. 2.

TO 1 OUT AT

M 2 ,,

•*
4

10
11

te
bd

12 j

6 „

12 >r

AND SO ON

A DESIGN FOB A TEA COSY IN
HHODE8 EMBBOIDEBY.

Rhodes
Embroidery.

some
strong p|Jj
linen
thread
for this
part of
the work.

Method

Working.

The first
step is to
outline
the de-
sign, and
obviously
the larger the design is, the less space
there is to be taken up by the open-
work in the background. This out-
lining is done with the embroidery
cotton, and is a perfectly simple
matter.

Now for the openwork, tie an end
of linen thread into the eye of a
"Rhodes" needle, and bring it from
the wrong, through the right side of
the work at the 1st dot in the 2nd
row — or dot 7 on the diagram ; push it
through to the wrong side on the dot
immediately above (dot 1). Bring it
up at the 2nd dot of the 2nd row (dot 8) .
Then push it down again at the 2nd
dot of the 1st row (dot 2) and up on
the 3rd dot of the 2nd row (dot 9).

Follow-
ing these
instruc-
t i o n s
with the
diagram,
it will
be see n
that the
nieth od
is one
stitch on
t h e per-

,,^^^^^^_ peudicu-
lar and
onestitch

on the diagonal, the first of these
ties the fabric threads, the second
brings the needle in position for
the next stitch. When the end of
a row of dots is reached, start the row
below. After tying the threads at dot
12, the needle put in at dot 6 is brought
out at dot 18, and is thus in position
for the next stitch. It is then put in
at 12 and out at 18, again tying the
threads, then in at 12 and out at 17,
and so on.

When all is worked in this manner
from A A to C C, reverse the material
as in Fig. 2, and repeat the instruc-
tions working from D E to D E.

There is really not the slightest
difficulty about this work, merely a

RHODES EMBROIDF.nY A8 A BORDEB.

Elaborate
Patterns.

";'0-'4^

AN EXCEEDINOLY HANDSOME DESIGN
IN UHODES EMBROIDERY.

little care being required to see that

while the stitches are pulled firmly,

they are not drawn so as to pucker

the material. Cluny lace makes an

•excellent finish for this kind of work,

which is

sometimes

•called

Punched

K in b r o i -

-der y .

Where
to Get
Materials.

All t h e
req uisites
for this
work c a 11
be obtained
fro m the
E r o d e r i e
Russe Co.,
289, Re-
gent St.,
TV o n d o n ,
W.

A HO UNI) FIVE O'CLOCK TEA CLOTH
IN RHODES EMBROIDERY.

They are the sole Patentees for this
embroidery, and all the illustrations
on these pages are their copyright,
and can be obtained from them.
They have other beautiful designs
traced on
a large
number of
art icl es,
including
d ' o i 1 i e s ,
tray cloths,
tea cloths
,c o s i e s ,
nightdress
cases, chair
backs, etc.,
and they
will com-
m e n c e a
piece of
work if
required.
No one
need be
afraid to

Rhodes
Embroidery.

attempt this embroidery, and quite
a small square can be purchased
to experiment on. Rhodes em-
broidery is so fascinating to do,
however, that the worker will soon
want to start something more ambi-

tious. It would be advisable for
beginners not to start with a circle or
curved piece of material, something
having a squared edge would be easier
as a commencement, until proficiency
is attained.

The Mending Basket.

Mending and altering are two
branches of the great art of Needle-
craft which no woman can afford to
despise in these days of ready-made
frocks and shop-bought costumes.
Turnings may be insufficient, buttons
sewn on with too scant stitches,
hooks and eyes trembing to fall off,
but these deficiencies very easily can
be put to rights. A shop-bought
costume that does not fit, however,
is not cheap at any price. I/earn,
therefore, how to make alterations in
the most commonsense and practical
fashion, and take preventivemeasures.
before the garment is worn for the
first time, to overcome the little
deficiencies that we may expect to
discover in the " ready-mades."

Tools for the Practical
Needlewoman.

Chief among the aids for the
practical needlewoman, taking first
rank among her valuable assistants,
comes the sewing-machine. For hard
wear and every-day use machine-
stitching is generally much neater
and stronger than hand sewing, and
the pace, of course, is far quicker.
Her sewing-machine is a good friend
to the busy woman who has mo?t
need to practise the art of preventive
mending, for strength and speed are
two of her chief demands.

It pays to understand one's sewing-
machine, and to treat it with tender

care. Rough usage, or careless
handling, through ignorance of the
rightful functions of the different
delicate pieces, may lead to dire
disaster. A handbook of instructions-
is always given when the machine is-
purchased ; cherish this book, for if
it is mislaid you are at sea without
your chart. The inexperienced girl
who makes her early attempt to-
fathom the mysteries of the sewing-
machine will find that a little personal
instruction (which may be had at the
depot of her own make of machine}
will be more helpful than an hour
spent in trying to solve intricate
problems by the aid of the printed,
page. Later on, however, the printed
directions will read lucidly enough
when her mind is conversant with the
everyday workings of the machine,
and an intelligent glance at her
useful little handbook will disclose to
her the cause and the remedy of the
defective action.

Keep the machine scrupulously
clean and thoroughly well oiled. To-
do this is again to recognise the
wisdom of preventive measures. An
un-oiled, dirty machine will al ways-
cause trouble in working, for when
the parts do not run smoothly,
dropped and uneven stitches are a
frequent embarrassment.

Oil in every part, and open and!
turn back so that when the oil has-

soaked through, the clogged dirt may
be carefully cleaned away.

A capacious mending
basket is a necessity for the
practical worker, and it is all
the more convenient if it
stands upon legs.tableheight,
and can be carried about to
be stationed just within
comfortable reach of the
mender's right hand.

Keep always some tailor's
canvas for use as stiffening,
buckram for millinery, white
leno and fine black lining,
rolls of old linen and flannel
for patching, stray pieces of
lace, and left-over lengths of embroi-
dery or insertions. Roll up all odd-
ments in soft, clean muslin with tape
or label attached, on which is written
a list of the trifles to be found within
your treasury.

If you frequently find your tape
measure mislaid, try this plan, and
thus prevent the long searching that
interrupts your sewing. Cut as long
a piece off your tape as will stretch
from end to end of your machine,
and paste it along the front edge of
the stand. It thus will be always at
hand when required, and will serve
at any rate for all the shorter measure-
ments required.

It is a good plan to assemble your
hooks and eyes on safety pins. Slip
the opened pin through the separate
hooks and eyes,
then when they
are all securely
dangling, fi r m 1 y
close your safety
pin, and they are
ready for use
when needed
and will not get

DIAGRAM SHOWING
HOW TO MEXD A
CHEMISE SLEEVE-

A. SIMPLE WA? TO RENOVATE KNICKERS
WHEN THE FRILLS HAVE WORK OUT,

Necessary
Implements.

tangled and twisted together as so-
often happens if they are kept in a
box.

Keep odd buttons in glass
bottles. No more hunting in
the dark and dust ! Yon can
see the button for which you
are searching, and by shaking
the bottle can bring it near to
the top, where it can be easily
reached. Bone or pearl but-
tons for underwear, or any
others that are not affected
by exposure, may be securely
fixed upon a hairpin. Straigh-
ten out one of the long hai rpins,
bend back one end about a
quarter or half an inch, run the
point through the holes, and when
your buttons are neatly crowded
together turn up the other end to
hold them securely.

Preventive
Mending.

We have heard that in China it is-
the custom to pay the family doctor
to keep his patients in good health
rather than to call him in only after
illness has laid the sufferer low.
Many of us applaud this system, but
have neither the opportunity nor,
perhaps, the courage, to defy conven-
tions in our own country.

But why not pursue the same wise
course in dealing with household
mending ? It works admirably.
Take the proverbial stitch that
"saves nine" in
very good time,
even before there
is any apparent
need for it, and
you'll find it will
work miracles.

Stockings, for
instance. The toes

The Mending
Basket.

THE JOY OP THE HOUSEWIFE WHEN SHE
EXAMINES THE LAUNDBY HAMPER I

and heels of children's stockings may
be neatly darned before they are worn
for the first time, for this purpose
using crochet silk or mercerised
thread, which is less bulky and clumsy
than wool. Insist on frequent change
of hosiery and forbid the wearing of
any stocking that shows even the
tiniest hole. To prevent those long
running ladders which are almost
impossible to mend, sew a band of
silk or cotton, or a border cut from an
old stocking, round each hem of the
new pair. Hose supporters (chief
cause of these destructive ladders) will
seldom cut through this double band.
Or another excellent plan may be
adopted. Take a round brass ring
and d c closely over it to make a soft,
firm covering. Sew this firmly into
position upon the stocking top with
neat, strong stitches, and always insert
the clip of the suspender within this
ring. You will thus make it impos-
sible for the tension to strain the
stocking beyond the area enclosed by
the ring.

In the knees of children's stockings
small shields may be placed, pieces

cut from other stockings and fastened
in so neatly that they are quite incon-
spicuous and not at all uncomfortable.

To strengthen the heel and under-
part of the foot when making men's
or boy's stockings, knit stout mercer-
ised cotton along with the wool. This
does not make it so clumsy as 2 strands
of wool, yet it adds considerably to the
wearing quality of the stocking.

The "ready-uiades," whether visit-
ing frocks, walking suits, or under-
wear, as was hinted in a previous para-
graph, cry out loudly for preventive
mending. For instance, sleeves should
be stitched in by machine, for on
ready-made clothes the machine
stitching is not always carefully done,
and a weak place in the sleeve seam
will quickly give way under strain
and start an ugly tear.

Embroidery with scalloped or
pointed edging should be machined
strongly all round the extreme edges,
the machine needle patiently follow-
ing the circuitous course of the pat-
tern. This will double the life of
embroided lace, preventing frayed
untidiness and breaks, gaps and tears.

CASH'S INSEIITIOX8 AUK ADMIRABLE
roil MENDING TKAY-CLOTHS

Tray Cloth
Suggestions.

To prevent aii embroidery flounce
from ragging out before the petticoat
itself is any the worse for wear, neatly
hem the edge as soon as it threatens
to fray or gets torn by an accidental
mis-step, and add a bordering of
Valenciennes or fine Torchon lace.

Buttons should receive careful
attention when any ready-made gar-
ment is bought. The trimness of
effect and the general prettiness of
coat or costume may be entirely spoilt
if one of a set of distinctive buttons
is allowed to drop off and get lost.

Therefore sew on all buttons at the
time of your pur-
chase. vStitch care-
fully with a strong
thread ; when you
have sewn through
and through the
button half a dozen
times, wind your
thread round and
round the strands
which hold the
button, between
the button and the
cloth, m a k i n g a
sort of shank.
Treat boot and shoe
buttons in the

AN ECONOMICAL TRAY-CLOTH
MADE FROM SCRAPS.

«.!!:• j$" •"•"'sfj" ?Y -MI.I

=S$*i^

MACHINE-MADE NET SQUA11KB
FOR MENDING TEA CLOTHS.

same way.

It is wise to
strengthen bed-
linen with broad
tape laid on at the
corners, inconspic-
uously stitched
into position, so
that an added firm-
ness is given to the
sheets where the
clothes-pegs might
do most damage.

Tablecloths are
wonderfully
strengthened if
tape is sewn all
sides. This is the

\ NARROW CKOCHET INSERTION IS USEFTTL
IX REPAIRING TORN HEMSTITCHING.

down the long
part that goes first.

Look closely into the wool-worked
buttonholing at your blanket ends.
You may, with advantage, stitch fresh
buttonhole edgings that will keep the
neat turn-over, when the blanket is
in use, for a longer time than if the
shop-bough t edging were left to suffice.

Mending a Child's
Chemise.

Half an hour spent weekly in pre-
ventive mending will often save hours
of darning and patching later. At the

A CHILD'S PKTTICOAT
DOXK-WITH STOCKING

missing. Now

The Mending
Basket.

same time, there will always be holes
and tears, and it is well to learn the
best methods of repairing the various
damages.

As c hi Id r e 11 ' s
clothes quick!}' and
so often require
mending, shall we
consider the repair-
ing of a little girl's
chemise ? These
directions are suit-
able for a chemise
with a round band.
The first thing to
happen will most
likely be its
return f r o m the
wash with a button
don't hastily catch one on, or you
will have the same business to do
next week. First be sure that your
button is the right size for your
button hole. One too large would be
obviously useless, one too small will
come unfastened and cause dis-
comfort. The plain linen buttons
are preferable, those with holes cut
the cotton and cause the threads to
come undone. Sew on firmly, stem-
ming, i.e., twist the cotton several
times round the button, and cast off
securely on the back.

The next trouble will probably be
a slit down the front from the open-
ing ; this will possibly be very slight,
but a darn is not a sufficient form of
strengthening. Place a piece of wide
tape across the slit, on the wrong
side of the garment, and sew round
securely. Some find a piece of tape
on both sides acts well for hard wear,
but this would be too clumsy for
light garments.

A chemise that is in otherwise
good condition may perhaps become

MADE FHOM
LEGS.

slightly frayed at the bottom. This
is easily made perfect by cutting off
the bottom hem, turning up and
machining another.
Do not tear off this
hem, but cut it off,
as the threads round
the bottom of the
chemise do not
always run evenly.

The sleeve is a
part that constantly
comes to grief
with growing girls.
Physical drill ,
hockey, etc., while
giving good exer-
cise to the arms,
also causes much wear on the parts
of the chemise round the shoulder.
Patching here is very unsatisfactory,
for if you patcli one side one week
the other will need it the next, and
the top the next after, making a
very unsightly and uncomfortable
garment. The remedy for this is to
put in an entirely new sleeve, which
is very easily done.

Take an oblong piece of material,
fold to form a square, place the fold
over the shoulder part of sleeve,
having 'first unpicked the neck band
over the shoulder. One end of
square goes into the band. (A in
diagram). This may be cut out a
little if necessary; the other side of
the square conies to the arm-hole of
sleeve. Pin new material on to the
old sleeve, cut out the curve under
arm by the old pattern, make a seam
and fell on that curve to correspond
with the side of chemise. (U in
diagram). Sew round the right side
of the patcli, being particular that
the seam and fell of the new sleeve
come exactly on the seam and fell of

About Table
Linen.

the chemise. Now turn the chemise
inside out and cut out the old sleeve,
leaving enough material to turn in
and make a neat hem all round. Sew
•on the part of the band that was
unpicked, hem the arm-hole.

Possibly by this time the neck band
is wearing. Never patch a band, it
is lumpy and looks most ugly. This
should be taken off and a new band
put on. The band is simply a long
narrow strip of calico. Measure the
length by the old one, halve and
quarter this baud, see that the half
comes to the middle of the back
gathers and the quarters on the
shoulders ; pin these points while
you tack the band, it can then be
machined. Work a buttonhole, put
on a button and finish with trimming.
If the trimming on the original band
was good it should bear using again ;
if it is worn, put on some narrow
Cash's Frilling or crocheted edging.

Often it happens that the top back
of the chemise is much worn ; in this
case a neat patch might be put in
while the baud is off. Press out the
old gathers before placing the. patch ;
remember to gather the back when
the patch has been completed before
replacing the baud. If the two new
sleeves are put in at the same time
the chemise will take an entirely new
lease of life.
A Simple Knicker Frill.

Unfortunately, by far the larger
part of our mending, nowadays, is
due to the modern laundry. Where
our mothers could keep their under-
clothing in good condition for years,
ours is torn to shreds, and some of it
comes home ragged and tattered most
weeks from the average laundry.
Knicker frills go very quickly, and
often need replacing.

Here is a simple way to renovate
them. Crochet a band of insertion,
and add a crochet frill ; gather the
leg of the knicker, and whip it to
one edge of the band of insertion.
You will find this will wear well, and
look better than patched embroidery.

Mending Table
Linen.

The damage here is chiefly of two
sorts ; thin places where the laundry
has removed stains — always without
chemicals of course !— and perhaps a
little hole in the middle, and clean
knife cuts. The latter should be
darned at once, whether it crumples
the cloth or not, while other darns
are usually left till the cloth is ready
for the wash.

To darn a cut, first catch its edges
lightly together with coloured cotton,
so that it lies quite flat and closed.
Then thread a crewel needle with
medium course linen thread for a
tablecloth, or with fine thread for a
fine d'oily. The shape of the darn
will be a parallelogram, the sides
slanting according to the direction
of the cut, but the stitches always
exactly in line with the selvedge of
the material. When the darn is com-
pleted to about half-an-inch beyond
each end of the cut that is sufficient,
and you have then only to remove
the coloured cotton.

A round hole or thin place is
darned just as a stocking-hole, but
you must be more careful than ever
that the crossing threads do not go
through the material, but only pick
up the first darning threads, and see
that you do pick up the threads
entirely without splitting them.

When table-cloths get worn or
frayed, or in any way damaged at the
edges, it may be possible to mend and

The Mending
Basket.

darn aud even patch the edges for a
little while; but the most satisfactory
way in the end is to cut the edges
right off and turn down a hem. The
cloth will then take on a new lease
of life.
Tray-cloths.

Speaking of the ravages of the
laundry, reminds me of the way
tray-qloths and fancy tea-cloths get
torn if there is any drawn-thread
work or hei-n-stitchiug. Most house-
wives have had occasion to mourn
damages such as the one illustrated
on page 92. Now a quick way to
repair hemstitching or narrow drawn-
thread work, when it runs all round
the cloth, is to pu*t some of Cash's
insertion over the damaged line,
carrying it right out to the edge of
the cloth, since it is a little diffi-
cult to make neat at the corners ;
featherstitch down each side of the
insertion. Or a narrow insertion can
be crocheted. The specimen shown is
simply loops of 5 ch, each row caught
into the row below. This does well
to go with a firm material.

When fancy corners get torn out, a
square of fine crocheted filet mesh
can be let in, and the material cut
away to fit. If the cloth is too thin
to take anything as strong as crochet,
a piece of darned net let in will often
look well, and give the cloth a new
lease of life. Also, you can get from
Messrs. S. Peach & Co., The Looms,
Nottingham, small squares in fine
machine-made net, that are not so
heavy as crochet for letting into a
cloth that is partly worn. And these
are quite inexpensive ; they are about
5 inches square. (See illustration on
page 93).
** Hedge -tear " in a Dress.

This is unfortunately as common

as it is annoying, and not so very easy
to repair either. First of all, if the
dress be lined, you must get a hem or
seam open somewhere in order to
work on the wrong side. Then catch
the edges of the tear together, keeping
them very flat, and if it be large or
awkward to hold, or very dark in
colour, tack the whole smoothly on
to a stiff piece of white card. Now
choose your darning thread and needle.
For a woollen dress there is nothing
lesscouspicuous than ravellings of the
material itself, but failing this the
silk or wool must be matched very
carefully.

Use as fine a needle as is practicable.
Start darning from half-an-inch to an
inch beyond one end of the tear and
work backward and forward across
it, going on each side half-an-inch
beyond the frayed portion. However
much frayed the tear may be, do not
cut away the roughness, but stroke it
flat with the needle, and be very care-
ful to weave the darning strand neatly
and securely through it. Work right
to the end of one slit, and then start
from the furthe" end of the other slit,
so that the 2 sets of darning meet and
cross at the angle, thus giving addi-
tional strength just where it is most
needed. The darning completed, you
can then remove the tacking stitches
and the card, and with a warm iron
press the place firmly on the wrong
side. If in tearing, the material has
been dragged very much out of shape
so that now it is darned it does not lie
flat, put a damp cloth over it, and iron
through that till the cloth is dry.
Then repeat the process, if necessary,
so long as it seems to be doing any
good at all. It is wise first to try on
the back of a hem or seam whether
the material will stand this without

changing colour or cockling. Then
you have simply to replace your hem
or seam, and wear your dress, deter-
mined to believe that everyone else
does not know exactly where to look
for that darn.
Those Stocking Legs !

Even when the feet of stockings
seem to be too far gone to be of any
use, it is possible to turn them to
practical use if the legs are all right.
The little petticoat illustrated on page
94 illustrates this.

Cut off the worn portion. Then cut
the stocking down the back seam.
When the pieces are spread out flat,

it will be seen that they are gore-
shaped, being wide at the top of the

stocking, and narrowing as the heel

is approached. By joining a

number

of "legs"

together,

the wide

part gives

theneces-

sary flare

at the

bottom of

the petti-
coat, and

the nar-
row part

goes into

the waist-
fa a n d .

Bind the

bottom

with some

crimson

braid, and

n f the A PRETTY ARRANGEMENT OF

put bin TENERIFFE WHEELS.

Utilizing Small
Pieces.

upper part on a waistband, and you
will have a warm petticoat that will
be a boon to any poor child.

Using up the
Pieces.

One often has nice pieces of linen
or other material left over, when mak-
ing, 'that might be turned to good
account. The tray-cloth, shown on
page 93, was made from 2 pieces of
plain tea-cloth linen that were over
after some aprons had been cut out.
The material isbeautifully serviceable,
but too stout to hem ; so each piece
was bound round with some narrow
strips of nainsook— likewise cast aside
for the piece-bag. These binding
strips were feather-stitched round.
A piece of simple Irish insertion
took very little time to crochet,
and used
only a
small
amount
of cotton.
Ardern's
No . 24
was used,
as the
coarser
t h read
went
better
than a
finer one
with the
stout
material.
The whole
was edged
with some

No directions can be crochet,
supplied for this.

C.N. O

Princess Braid Applique.

This is a very simple form of lace
to make, and yet, when done, looks
wonderfully effective. The design
shown, being arranged in the form
of a square, would be most suitable
for the corner of a square collar, but
it would be a perfectly simple matter
to arrange the same design on an
entirely different shaped foundation,

1. C0BNEB IN PRINCESS BBAID APPLIQUE.

and use it for a collar of any other
shape, or for any other purpose
desired.

The only materials required for
this pretty work are some fine Brussels
net, lace braid, some crochet cotton
and fine lace thread. A row of pearl
edging is often sewn round the edge
of a collar to finish it off. This
edging can be bought at any fancy
work depot.

The sprays are formed o'f lobes of
braid, with braid of a larger kind for
the leaves, and the stems are worked
in twist stitch with Ardern's No. 24
Lustrous Crochet Cotton.

First draw the design on paper,
tack a piece of Brussels net over the
paper, then apply the braid, and sew
round with neat, even stitches, using
very fine thread for the purpose.

It will easily be seen that by varying
the arrangement of the braid, and
even the braid itself, a variety of
different designs can be obtained.
For instance, pretty flowers are made
by using four or five loops of the
plain lace braid (the kind used for the
inside straight border of the design
here illustrated), and
working in the centre,
where the loops meet,
a group of French knots.
Then too, leaflets, and
other small parts of
designs, are sometimes
worked in darning.

As mentioned above, a
pearl edging whipped
along the edge, makes a
pretty finish for a collar,
handkerchief border, or
length of lace.

How Needle work Reveals
Our Aims.

BY THE

At first glance it may seem strange
- if one has not thought about the
matter— to say that our needlework
will, to some extent, reveal our aims
in life. Yet it is true ; and whether
we know it or not, our hand-work,
and the way we do it, gives a wonder-
fully accurate indication of some of
our chief characteristics, be they good
or bad. More than this, the style of
needlework that we do as a recreation,
in our spare time, will to a very large
extent help to mould our taste and
influence us in a way we little
imagine.

# *

Speaking broadly, all needlework,
whether it be plain or fancy stitchery,
crochet or knitting, can be placed
under one or two heads : good art
and bad art. Of course there are
many grades, and a multiplicity of
degrees of excellence; but in the
main it is not at all difficult to decide
to which category a piece of work
belongs ; as a rule it falls easily into
its proper division : there is no half-
way house.

Is the work exactly what it pre-
tends to be? Does it serve some
definite purpose? Is it a type of
work suited to the purpose for which
it is to be used ? Is it executed as
well as the worker knows how ? Is it
done thoroughly ? Is it done in such
a way that it will wear well, and last
long by reason of its careful work-
manship ? If so, the probability is
that it will be good art.

On the other hand : Is the work a
base, flimsy imitation of some superior
form of the craft? Is it executed

EDITOR.

with the definite intention of deceiv-
ing the eye ? Is it shoddy work, or a
sham ? Is it carelessly done, with no
attention to finish ? Is it unsuited to
the purpose for which it is to be
used ? Is it all surface show, with no
body in it that will stand legitimate
wear? Is it the type of work that
demands neither thoughtSk>r
mechanical skill from the worker?
Then there is no question but that it
will be bad art.

41 •*

Consider a concrete case and you
will see more clearly what I mean . I
saw a girl doing a piece of so-called
embroidery the other day— wild roses
on white satin it purported to be.
But when one got close to it, the satin
was of the commonest kind (not
worth ornamenting in any case, and
impossible to beautify by reason of
its own inherent cheapness), and the
roses were being carelessly worked in
coarse, straggling stitches, each made
to cover as much space as possible.
Neither the material nor the work
had any durable quality - though
perhaps it was just as well that it
would not last ; it certainly wasn't
worth preserving ! It was merely a
bit of showy surface work that was
a fraud through and through. The
flowers were given a raised appearance
by being loosely worked with a very
thick, coloured cotton ; and at close
quarters the shallowness of it all
was only too apparent : one knew
instinctively what an impossible rag
the whole thing would be after the
first cleaning!

I asked the girl what she was

How Needlework
Reveals our Aims.

making? " O.h, I don't quite know "
she said ; "I'm just doing it to fill up
my time — one must do something at
the seaside, you know. Perhaps I
shall make it up as a table centre . . .
No, I don't suppose there will be any
wear in it, but then, I shall be sure to
throw it away the moment I am tired
of it."

Now here was bad art from every
point of view. It was bad work on
poor material ; it was being done for
no definite purpose, the worker
merely wanted to kill time ; she did
not con-

Dutch Interior, showing how artistically Cross-Stitch can be
applied to Household Linen.

any desire to attain to the best, a
feeble mental outlook, an inartistic
temperament, a disregard of the value
of time, and a blunted sense of
honesty !

How much better it would have
been if that girl had taken a small
piece of linen, coarse dowlais if she
could afford nothing finer, and have
hemstitched the border, or drawn
some threads and done a narrow simple
piece of drawn-thread work round it,
or feather-stitched along a hem and
added a piece of crochet, and in this
way made
a tray -
cloth that
would
have
been of
definite
use when
done,
that
would
have
stood
a f a i r
amount
of wear,
and would
have been
good art
so far as
it went,
even
though
that was
not very
far.

B y s o-
doing,
that girl
would
have-been
benefit-

100

ing the community, instead
of injuring it; she would
have been employing her
time in producing work
that was some use, instead
of killing time by producing
something worthless and
adding yet one more in-
artistic item to a world
that is over- stocked in that
direction already, and doesn't
need its eyesight harassed
any further.

The lace makers, and em-
broiderers, and needle-
work«rs of past ages set
about their tasks in a very different
manner. As individuals, they may
often have been lacking in general
learning, they may have known but
little beyond that particular pattern
they worked, but what they did, they
did well— as well as ever they knew
how ; and they did it in such a way
that their work was not only worth
preserving, but it possessed lasting
qualities that have withstood in some
cases, generations of handling and
use.

Those workers took a pride in their
work ; and while many of them did
tieedlecraft for a livelihood, they were
artists who worked for more than
that mere livelihood. Their hand-
work stood to them for something
much more dignified than a moment's
superficial show, to be thrown away
again without hesitation at the
caprice of fashion. The needlework
of the past was often too beautiful for
those who used it to get tired of it ;
like all real art, it was beautiful for
all time; not a bit of clap-trap for
the moment only, and you will
-realize this if you study the needle-

Take your
needle, my child,
and work at your
pattern ; it will
come out a rose
by-and-by. Life
is like that — one
stitch at a time
taken patiently
and the pattern
will come out all
right like the
embroidery.

Oliver

Wendell

Holmes

'»** 5 ?*•:-. The- Meaning of
S'vi -ftdte Work.

work in the museums in
England and on the
Continent.

But this does not mean
that it was all very elaborate.
Some of the old needle-
work was 'quite simple in
design. But whether it was
plain or ornate, when the
workers put into it the best
that they were able to do,
and worked with a humble
sincerity of purpose, they
invariably achieved beauti-
ful lasting results that we—
in this enlightened age-
have not been able to im-
upon, indeed have seldom

prove

succeeded in equalling.

I want to urge those of you who
have any time to give to needlework
to remember that this is as much an
art as painting and music and archi-
tecture. You can be blunting - or
elevating— your artistic sense (and
that of other people) by the type of
work you produce and display, just
as much as by the type of picture you
hang upon your wall. You will be
lowering your ideals by doing shoddy
work and false work, just as you will
be raising them by doing work that
is thorough and conscientious.
What do I mean by "false work " ?
I mean the sort of work that strives
by cheap tricks to look like some-
thing that it isn't ! I recently saw a
blouse that a girl had trimmed with
some indifferent, machine-made
coarse cotton insertion, which she
had embellished with coloured wool
and a little gilt thread run in and out
around the pattern. She told me
she had done it herself, and asked if

101

How Needlework
our Aims. '•»-

I didn't think it had a rich Oriental
effect ! ! She said she had got the
idea from Paris— as though that
necessarily stamped it as artistic and
desirable !

Sometimes it is very hard to be
kind as well as truthful! I didn't
want to hurt her feelings by telling
her exactly what I thought: viz.,
that it utterly vulgarised her blouse
and revealed a deplorably ' ' common ' '
streak in her personal taste ! I did
the best I could under the circum-
stances by saying that I thought the
blouse material (which was a pretty,
simple pattern) didn't need the trim-
ming to set it off.

This serves to show what I mean
when I speak of ' ' false work ; ' ' there
is a tremendous amount of it about
nowadays, and it is all of it rotten.
It is having not only a detrimental
effect on our national taste, but also
on our morals.

The girl who will don badly-mach-
ined, ready-made underwear, gaudily
trimmed with cheap imitation lace,
and garnished with bows of papery
ribbon, is not only wasting her money
in buying such garments, but is

actually pandering to dishonesty, and
encouraging herself to tolerate and
condone what is false and bad—
hopelessly bad.

The girl who takes a pleasure in
making her own things (if she has
the time) as nicely as they can be
made (whether by machine or by
hand), putting fine, even feather-
stitching and such-like work into
them instead of the "cheap and
nasty " imitation lace and ribbon, is
fostering a love of truth and sincerity,,
as well as cultivating a sense of
beauty and fitness.

Such matters may seem trivial and
of little account to the superficial
mind: but they are of grave import-
ance in the formation of character ;
and the girl or woman who puts good
work, careful work, thorough work,
finished work — no matter how simple
— into her personal wear and her
household furnishings, is having an
influence for good on her day and
generation. She is helping to mould
the taste of those who see or handle
the things she has made; and above
all, she is following the command:
" Whatsoever thy hand findeth to do.
do it with thy might."

102

Mosaic Filet Lace.

Mosaic filet lace is
a novel idea in fancy-
work. In this the
design is worked with
very narrow ribbon
somewhat like be'be'
ribbon, but finer and
softer. It is about
Xe-inch in width and
made in all the
principal colours, as
well as striped and
8 haded . Use an
ordinary darning
needle, or a crewel
needle, and work the
design by running
the ribbon in and out
through the meshes,
in plain darning-

EFFECTIVE DESIGN FOB
OXWHION-OOVMR.

stitch. Twice
will be sum-
ci en t for
each row of
the meshes,
that is just
upanddown.
Cross from
one point to
another
when desir-
able on the
back of the
work behind
the stitches,
running the
ribbon, now
and the*,
under one of
the strands
of the net to
be seen
behind the
part you
wish to cross

Lacet Braiding.

A DECORATIVE MOTIF IN WHITE BRAID
WITH FANCT STITCHES.

Lacet braid-
ing cannot
be written of
as a new idea,
but it may
well be re-
vived as an
eff e c t i ve
means of
embroidery.
In conjunc-
tion with
the various
stitches used
in fancy-
work, practi-
cally any article can be decorated.

The lacet braid itself is of French
make, and
costs Id. a
bundle. The
colours in
which it can
be had are
white, red
and dark
blue, and are
best used on
a contrast.

As the braid
washes, it is
as well to
have the
groundwork
of a simi-
lar nature.
Linen, either
white or col-
oured, is one
of the best
to use, and
there are sev-
eral kinds of
holland-like
stuffs for
embroidery

A DESIGN FOB A BAG IN WHITE BRAID WITH
HERRING-BONE FILLING.

104

which are
suitable,
although not
so lasting.
Often one
can purchase
centres and
such-like at
fancy - work
shops with
a pattern
ready traced
upon them.
Not every
design, how-
ever, willsuit

the lacet braids. Natural groups and
sprays of flowers are best avoided, as
they mean,
in most in-
stances, too
many curves,
and large
flowers re-
quire more
than a braid
outline. A
conventional
design
should there-
for e be
chosen, with
fairly close
lines.

Curves can
be negotiat-
ed without
puckeri ng
the corners,
but in all
cases where
practicable,
it is as well
to fold the
braid over,
both sides

AN INITIAL FRAMED IN BED AND WHITE
BRAID AND FRENCH KNOTS.

being alike.
Fine cotton
(No. 80 for
preference)
is used to
stitch the
braid on to
the lines of
the design,
and naturally
only small
stitches
must be
made or the braid will not lie close
and flat. Sufficient braid to cover a
few lines of the design is cut off, and
then threaded
through from the r
back to the front
•of the material,
with a needle
large enough to
take the braid.
Then it is sewn
down evenly with
the fine cotton,
until a point is
reachedwherethe
braid must be
taken through to
the back of the
material, to be
brought up again
at the nearest point.

It is not possible to do all the braid-
ing of a fair-sized piece of work

A CONVENTIONAL. DESIGN IN RED BRAID
WITH DARNING STITCH.

Patterns for
Initials.

without a
break, as the
braid is
liable to be-
come stringy
after it has
been pulled
through a
few times.
The ends of
the braid
must be sewn
down neatly
on the wrong
side of the work.

In cases where the lines of the
design come closely together, one row
of the braid is
laid over the
other,andtheend
finally taken to
the back through
the same hole.

There is a cer-
tain danger of
puckering the
work when the
braid is being
sewn across the
material when it
comes on the
cross, but this is
practically the
only point on

which extra care must be taken. All
the braiding is done before any
embroidery in silk or mercerised

<&vS"33s
' ssxsa?

AN END FOR A HUCKABACK TOWEL, INTRODUCING LACET BRAIDING.

105

Lacct
Braiding.

thread is introduced.

The Design for
a Bag.

Although the braid may well be
used alone, yet the addition of some
embroidery stitches between the lines
is a great improvement. In this, her-
ring-boning on a close scale fills up
the spaces of the flower and stalk;
the leaves are left plain for contrast's
sake.

A Decorative
Motif.

Here the braid is used both in
straight and curved lines, and the
spaces are filled with different stitches.

The lower part is outlined with
blanket stitching, and the next small
space filled with French knots. Each
small square is crossed with 6 threads,
fixed in its centre by 1 French knot.

The " bows " and " buckle " are treated
the same way in their centres, and in

their outer spaces filled in with
Oriental stitch again.

A Framed Initial.

Red and white lacet braids may be
employed together for some marking
purposes. A "framework" may be
made of any shape and size to take
1 or more initials, which could be
worked in red or white mercerised
cotton. The French knots make a
great improvement to the appearance
of this form of marking.

An End for a Huckaback
Towel.

Marking in red only cannot be
recommended for much more than
towels, and huckaback is the best
medium on which to work the braid.
A central initial and a design on either
side is quite sufficient. This is a sug-
gestion which can be easily copied.
Darning stitch in red cotton is here
used to fill up a few spaces.

Darned Filet Crochet Squares are pretty for inset in linen
or Congress canvas,

106

esigns in Hedebo Embroidery,

A COLLAB IN HEDEBO EMBROIDEBT.

Bee next page for article on this work.

••**-

A PILLOW CASE IN HEDEBO EMBBOIDEKY.

ANOTHEB HEDEBO COLLAB FOB UNDEBWKAB.

107

The Story of Hedebo
Embroidery.

A 8TOLPE-KL.EDE. USED IN DENMARK
IN PAST YEARS AS WALL HANGINGS-

108

Hedebo embroidery, one of the
most popular forms of Danish needle-
work, takes its name from the stretch
of heath (hede) that lies between
Copenhagen (Kjoge) and Roskildein
Denmark. From time immemorial
the peasantry who lived (live = &o)
there have spun and woven their own
linen from th.e flax grown on their
farms, and their pride in their home-
made articles was very great. This
led to a desire to further ornament
their garments and household linen,
and the idea of drawing out some of
the threads and rearranging them
with a needle and thread was their
first attempt at Hedebo stitchery.
This probably began as early as the
fifteenth century. From these first
simple patterns the peasant women
of the Hedebo district invented and
improved stitches and designs from
year to year, until a very high
standard of art industry was attained.

Flax played an important part in
connection with the love affairs of
these people. The peasant lad carved
some implement used for the prepar-
ing of flax, and presented it to his
lady-love as a prelude to the formal
proposal. And her first gift to her
betrothed was a flaxen shirt with
elaborately-wrought collar, front and
wristbands. In due course the happy
home was made beautiful with hang-
ings of various descriptions in
Hedebo work. Over the bedstead
was a frieze ; between the two doors
leading to the kitchen and the
passage was a panel. Other items
that were the ornaments of every
peasant homestead were sham towels
and pillow-cases.

These peasant women worked solely

Hedebo work
versus Digging.

for the love of it, for the embroidery
itself was not known or recognised
outside their sphere, and was there-
fore of no market value. So great
was the fascination of the stitchery
that the workers would often forego
a night's rest in order to finish a
piece of work.

And even where the husband was
averse — as was sometimes the case —
to any such " fancy-work," the spell
of it was irresistible, and the em-
broidery was consequently executed
clandestinely. History relates of one
girl who was told to dig a pit in a
field for some stones. When the
digging was finished, she sat down to
rest. for a few minutes. The Hedebo
needlework, hidden in her pocket,
came out, and she was about to enjoy
a little of this pleasanter occupation,
when she saw her father coming.
To return it to her pocket would only
attract his attention to her delin-
quency. So she hastily flung it into
the pit, and covered it with earth,
meaning to unearth it as soon as
he had disappeared. But she was
discovered, and her stern parent,
without a word, rolled some stones
into th,e pit and covered them with
earth. The long-cherished treasure
therefore remained buried for ever-
more.

The evolution of the Hedebo style
is interesting. Up to 1815 the
patterns consist of highly conven-
tionalised drawings of flowers and
animals on a background of labori-
ously-wrought drawn-thread work.
Then it passes through another
phase. The style is still the same —
stiff figures— but with the linen itself
as background (about 1830). Then
the style undergoes a great change

A 8TOLPE-KUEDE. THESE WERE HtJNO
BETWEEN TWO DOORB IN THE LIVING ROOM.

109

The Story of Hedebo
Embroidery.

A KN-E-DUG" IN PAST YEABB THESE WEBB USED IN DENMABK AS
WALL. HANGINGS, IN THE LIVING-BOOM BY THE HEARTH.

The flower motifs become richer and
freer ; there is also greater variety of
stitches in the open-work, which is
profusely embellished with chain-
stitch embroidery in rows, circles
and scrolls ; the designs are graceful
and the general effect is very lovely.
About 1840 Hedebo embroidery
reaches its zenith, of beauty and
perfection ; the open-work motifs
present a still greater variety of
stitches, and the work is, moreover,
richly ornamented with garlands of
flowers in satin-stitch embroidery.
The stitchery of this period is exqui-
site, both as regards design and
execution.

Now follows the decline of the
work, showing the artifices used for
studying the effect to the detriment
-of the actual work ; for instance, the

trick of cutting out instead of draw-
ing the threads, the long loose chain
stitches instead of the previous care-
ful ones, lovingly, almost reverently,
done. All this contributed to the
degradation of the beautiful old art.

Hedebo embroidery was sadly on
the wane when some needlework
experts decided to revive it. The
best Hedebo designs were bought or
borrowed and thoroughly examined,
much time and money being ex-
pended, and " The Society for the
Revival of Hedebo Work " was formed .
Although it did not possess any
capital, various difficulties were over-
come by those interested in the work.
The Art and Industrial School for
Women offered the newly-formed
society a flat free of rent, clever artists
gave designs, and the Directress of

110

the Art and Industrial School under-
took the responsibility of leadership.
Tjhe Society, whose aim it is to revive
the art and to apply it with a view
to modern requirements, is growing
rapidly, and has now 270 members.
The best forms of Hedebo needle-
work are taught to its members, and
such work as passes the criticism of
the consulting needlework specialist
is bought by the society. All the work
done by the members is designed by
the artists of the society, and twice
a week members can get advice as to
their patterns. The work of this
society is becoming very well known
both in and out of Denmark, and
it possesses many exquisite designs
from which to study the styles. But
its aim is also to improve the art if
possible, and no effort seems too
great for them so that they attain
this end. And a large collection of

The Revival
of the Craft.

" revived " work, exquisitely designed
and executed, testifies to a result
that must be highly gratifying.

It is an interesting fact that the
majority of the initiators of this
society are men — --University Pro-
fessors of the Danish Royal Academy
of Art, and other eminent artists and
architects. It is therefore not surpris-
ing that when first-rate needlework
experts took up the work under such
guidance, its delicate beauty should
be restored, for it has been revived
with tenderness for itself as well as
with reverence for its creators — the
women who lived on the Roskilde
Heath.

We are not dealing with the actual
working of Hedebo Embroidery in
this book, as full details of all the
stitches appear in the companion
volume, The Home Art Book of Fancy
Stitchery.

ANOTHER BEAUTIFUL

For the Home DressmaKer.

Boning a Bodice

Lining.

When making a bone-cased bodice-
lining, all the bone-casings should
be eased when sewing on, and sewn
very strongly down each seam. Also
it is much better to use a good
quality Prussian bind, or galon, for
the bone-casings than a cheap one,
as it costs very little more, and will
probably last as long as the dress.

Then for this purpose there is
really nothing to beat the ready-cased
feather-bone, which is sold by the
yard at the best drapers, and may be
obtained with a silk or satin casing,
as well as a cotton casing, either in
black or white; the silk or satin-
cased feather-bone is especially suit-
able for evening and best dresses
wlach have a silk or satin bodice-

lining. This has only to be stitched
on to one side of the turnings of the
seam, as closely as possible to the
stitching of the seam. After it has
been stitched on, and the ends of the
stitching tied off and fastened
strongly, a tiny piece of the whale-
bone (about half an inch) should be
cut away from the inside casing,
leaving just sufficient of the casing
to neaten the end.

Joining the Seams
of a Skirt.

When stitching up inside skirt
seams, especially those to be pressed
open, be very careful to see both
edges are quite smooth before tacking
up; nothing looks so bad as a puckered
seam, with perhaps one edge of the
material eased on one side, and the
other side quite tight. If care is not

r f

DETAIL OF HEDEBO " STOI.PE-KLoEDE " SHOWN ON PAGE 108.

112

Practical
Points.

taken before the seam is stitched up,
no amount of pressing with the iron
afterwards will set it right.

Also be sure the stitching is quite
straight. In the case of dark
materials a rule may be laid down
the seam, and a chalk or crayon pencil
line marked close to the rule before
stitching; or a piece of ordinary
wide tape, held firm at either end
with a drawing-pin, would answer
the purpose, should any reader not
possess a rule long enough. For
light materials a tacking may be
placed close to the tape instead of a
pencil or chalk mark.

Cr£pe de Chine, ninon, and all thin
flimsy materials are best stitched
over paper, as it prevents the seams
looking drawn. The paper can be
pulled away after the seams or hems
are stitched. In fact, all very thin
materials look better when stitched
with paper underneath them.

Getting an Even
Length.

When allowing for the length of a
skirt, it is best to take the measure-
ments from the waist to the ground
at the front, back, and the hips.
Then turn up the skirt to the length
you require it off the ground. For
instance, if the length should be
42 inches to the ground, and you
want a skirt to be 4 inches off the
ground, you would turn up the skirt
to measure 38 inches, taking 4 inches
off the measurements to the ground
all round the skirt. Tack up the
hem to these measurements, then
try on the skirt and see that it is
quite even before stitching the hem.

Pressing.

When pressing seams and hems
(and when a garment is well pressed
it makes all the difference in its

appearance), there is no need to use
all one's strength, as it were, as I
have seen some really good workers
try to do.

To Cover Button
Moulds.

Before covering button-moulds with
the material, the holes of the mould
should be filled up with a tiny piece
of cotton-wool, pushed in from the
back of the mould with the sharp
point of the scissors. And if the
buttons are to be covered with a very
thin material, such as soft silk or
satin, they will look, and also wear,
- better if the mould is covered with a
little piece of lining first before
putting on the outside covering.

When Turning Hems
on Thin Materials.

French knots are often usecl now
for finishing hems and fastening
pleats, and any reader who does not
possess a sewing-machine, I am sur^
will find these have a much nicer
appearance than hand-hemming in
the ordinary way. Also they, of
course, make the hem much stronger,
especially for thin materials, where
hemming stitches would be likely to
show more, and for this reason do
not have a very firm hold on the
second thickness of the material.

Applying Trimmings.

Ribbon, velvet and silk, or mohair
braid trimmings are best sewn on by
hand with silk, and only one stitch
taken at a time, although in some
instances the sewing-machine may be
used to advantage.

The Foundation
Band.

A one-piece dress will feel much
more comfortable if the bodice is
mounted and sewn on to a founda-
tion-band of petersham, shaped and
113 C-N' H

For the Home
Dressmaker.

\> IS*»^

> Vv «.*»•»">

* ;trt-.!*^l?T?:

DETAIL, OF HEDEBO "KN.K-DUG" ILLUSTRATED ON PAGE 111.

boned, made to fit the waist, the top
of the skirt being sewn to the top of
the band. These bands should be
fitted to the size of the waist, and the
hooks and eyes sewn on before join-
ing them to the dress. If preferred,
shaped belting ready boned may be
obtained at most drapers, in different
widths, for about sixpence per yard.
Fasteners,

The larger press-studs or fasteners,
are much better and stronger than
the small size fasteners for thick
materials, such as serge or cloth,
while for thin silk, satin, lace or net,
the smaller sizes are more suitable.
Crossway Bands and Pipings.

In making cord pipings, bias

bands, or flounced trimmings, be
sure the material is cut quite on the
bias before starting to cut the strips
required, or it will spoil the appear-
ance of them, and they will not set
properly.

To Edge Collars
and Cuffs.

Stitching, in pretty shades of
embroidery silk, to correspond with
the dress, is a nice finish for a ninon
yoke, or collar and cuffs to a dress.
For example, a navy blue, with
alternate stitches of navy and red, is
very pretty, or perhaps three navy
stitches and then one red stitch.
This is, of course, just a matter of
individual taste.

1'rinted for the Proprietors of "THE GIRL'S OWN PAPER & WOMAN'S MAGAZINE"
by CURTIS & BEAMISH, LTD., COVENTRY, ENGLAND.

SECOND EDITION. Price I/- net (by post, 1/5).

THE MISTRESS OF
THE LITTLE HOUSE

What she should Know and
what she should Do when
she has an Untrained Servant

Edited by FLORA RLICRMANN

Editor of " The Girl's Own Paper & Woman's Magazine:'

The Lady says:— "It is a most useful little volume."

The British Weekly says :—" This is an invaluable little book for the young

housekeeper."
The Pall Mall Gazette says:— "The information is brightly conveyed and well

arranged."
The Guardian says:— "It is full of practical information, pleasantly put, for ever

housewife."

The Schoolmistress says :— "It is an excellent series of practical talks. "^
The Christian World says:— "No small household should be without it."

London :

The Office of "The Girl's Own Paper and Woman's Magazine"
4 Bouverie Street B.C., and of all Booksellers

The Broderie Russe

289, Regent Street, W.,

SPECIALISE IN ^—*s;e^

Tapestry, Filet Lace, Venise,
Baro, Hedebo, Reticella and
all other Art Embroideries.

A LARGE STOCK OF TRACED
AND FINISHED GOODS.

LESSONS GIVEN IN ALL THE ABOVE.

PAPER PATTERNS

Price 4dL. each, exclusive of postage.

The following Paper Patterns, which are of special French cut, and perfect

H?l££' Can always bc obtained by writing to the Fashion Editor, THE GIRL'S

OWN PAPER AND WOMAN'S MAGAZINE, 4 Bouverie Street, London, E.C.

When ordering, state bust or waist measure and number of pattern.

Blouses.

Number

American Shirt Blouse ... 5339

Shirt Blouse with gathered front

and pointed collar ... 7476

Raglan-Shouldered Blouse ... 9062
Yoked Shirt Blouse ... .., 9061

Skirts.
Three-piece Skirt ... ... 7002

Four-gored Walking Skirt ... 6743
Five-gored Walking Skirt ... 7251
Coats and Cloaks.
Three-quarter Coat, with Cir-
cular Cape ... ... 8003

Semi-fitting Short Coat ... 3052

Evening Cloak ... ... 2017

Cape ... ... ... 2016

Ladies' Underwear.
Set of Underwear, including

Chemise, Camisole and Knickers 3043
Square-yoked Nightdress ... 3036

Empire Nightdress with V-neck 6481
One-piece Nightdress... ... 6479

Magyar Nightgown ... ... 3040

Empire Nightdress, with short

puff Sleeves ... ... 1933

Plain Chemise ... ... 5832

Square-necked Chemise ... 5855

Envelope Chemise ... ... 1)083

Open Knickers and Bloomers ... 2570
Cycling Knickers ... ... 2049

Combinations ... ... 2000

Combination Corset Cover and

Knickers ... ... 9082

Combination Camisole and

Underskirt ... ... 9072

High-waisted Combination Cor-
set Cover and Knickers ... 5395
Two-piece Underskirt ... 4028

Four-gored Underskirt, with

shaped flounce ... ... 2300

Five-gored Underskirt ... 3038

Princess Petticoat ... ... 3024

Two-piece Underslip ... ... 5030

Princess Underslip, with long or

short Sleeves ... ... 1923

One-piece Camisole, buttoned on

shoulders ... ... 2299

Camisole, with round or square

neck ... ... ... 7235

Camisole, with Sleeves & Basaue 6067
Magyar Camisole ... ... 6132

One-piece Circular Dressing Cape 2039
One-piece Dressing Jacket ... 1909
Dressing Jacket, with Kimono

Sleeves ... ... ... 2071

One-piece Dressing Jacket, with

Long or Short Sleeves ... 4020
Loose Dressing Gown, fastening

at side-front .. 6490

Dressing Gown, with Raglan Numbe»

Sleeves ... ... ... 5538

Dressing Gown, with deep-
pointed Collar ... ... 1906

Overalls and Aprons.

Square-necked Overall, with

long or short sleeves ... 2346
Square-Yoked Overall with long

sleeves ... ... ... 9020

Princess Apron, without Sleeves 1179
Fitted Apron, with adjustable

Sleeves ... ... ... 1450

Pinafore Apron, without Sleeves 1266
Sleeveless Overall fastening at

side front ... ... 9096

Two-piece Overall, with peasant

Sleeves ... ... ... 2047

Cookery Apron, fastening on

shoulders ... ... 2024

Fancy Work-apron, with square

neck ... ... ... 6510

Fitted Empire Apron, with wide

shoulder straps ... ... 6512

Fancy Afternoon Apron, with

cross-over Bib ... ... 6514

Fancy Afternoon Apron, without

Bib ... ... ... 6521

Fancy Work-apron, with double

Pocket ...

6522

Gardening- Apron,
Pockets...

with deep

3071

Patterns for Men and Boys.

Man's Dressing- Gown ... 5438

Man's Shirt ... ... 8073s

Man's Nightshirt ... 8073A

Man's Pyjama Suit ... ... 1921

Boy's Shirt and Knickers. Sizes

6, 8, and 10 years ... 3020

Boy's Nig-htshirt. Sizes 8, 10,

12, and 14 years ... ... 807

Boy's Pyjama Suit. Sizes 8, 10,

12, and 14 years ... ... 1441

Boy's Knickers and Blouse- Sizes

4, 6, and 8 years... ... 2068

Patterns for Girls.

Pinafore Frock with Guimpe.

Sizes 12 and 14 years ... 2876
Girl's Smock with pleated Skirt.

Sizes 10 and 12 years ... 2874
Magyar Nig-htg-own. Sizes 12, 14,

and 16 years ... ... 1688

Dressing Gown, with Sailor Collar.

Sizes 8, 10, and 12 years ... 2090
Princess Petticoat. Sizes 12, 14,

and 16 years ... ... 1689

Combination Camisole and Petti-

coat. Sizes 12, 14, and 16

years ... ... ... 1947

PAPER PATTERNS

Price 4dl. each, exclusive of postage.

The following Paper Patterns, which are of special French cut, and perfect

fitting, can always be obtained by writing to the Fashion Editor, THE GIRL'S

OWN PAPER AND WOMAN'S MAGAZINE, 4 Bouverie Street, London, E.C.

When ordering, state bust or waist measure and number of pattern.

Patterns for Girls — continued.

Combination Camisole and Number
Knickers. Sizes 12, 14 and
16 years ... 1217

Bathing Dress. Sizes 10, 12, 14,

and 16 years ... ... 2072

Red Riding Hood Cape. Sizes

10, 12, and 14 years ... 2015

Girl's Cookery Apron, with Cap
and Sleeve Protectors, Silzes
10, 12, 14 and 16 years ... 5372

Patterns for Children.

Baby's First Outfit ... ... 381

Baby's One-Piece Outfit ... 5158

Child's Play Bib, with Pocket.

Sizes 2 and 4 years ...1230

Magyar Short Clothing Set ... 6500
Baby's Short Clothing Set ... 2088
Little Girl's Outfit (including
six patterns). Sizes 1 and
2 years ... ... ... 913

Child's Yoke Frock. Sizes 1, 2.

4, and 6 years ... ... 1470

One-piece Frock, fastening on
shoulders. Sizes 1, 2, 4, and

6 years 1813

Child's One-piece Frock, with
long Sleeves. Sizes 2, 4, 6,
and 8 years ... ... 1529

Child's Tucked Yoke Frock. Sizes

1, 2, and 4 years ... ... 2285

Boy's Box-pleated Tunic, with
Bloomers. Sizes 1, 2, and 4
years ... ... ... 2286

Child's Sailor Romper Suit. Sizes

1, 2, and 4 years ... 3081
One-piece Rompers. Sizes 1, 2,

and 4 years ... - 1999

Rompers, with Yoke and long
Sleeves, also Hat. Sizes 1,

2, and 4 years ... ... 2309

Child's Play Suit, including

Frock, Bloomers and Hat.
Sizes 2, 4, and 6 years ... 2308

Child's Play Overall, with
Bloomers. Sizes 2, 4, 6, and
8 years ... ... ... 3011

Peasant Dress fastening at side-
front. Sizes 4, 6, 8, & 10 years 2065

Tucked Long- waisted Dress, with
round Collar. Sizes 2, 4, 6,
and 8 years ... ... 1883

Pinafore Dress, fastened on shoul-
ders with guimpe. Sizes 4,
6, 8, and 10 years ... 1276

Empire Dress, with square neck.

Sizes 6, 8, 10, and 12 years 5664

Numbet

Coat, with Round Collar. Sizes

4, 6, 8, and 10 years ... 3023

Red Riding Hood Cape. Sizes

4, 6, 8, 10, 12, and 14 years 2015
Guimpe. Sizes 1, 2, 4, 6, 8, and

10 years... ... ... 1814

Tucked Nightgown. Sizes 6, 8,

10, and 12 years ... ... 1687

Nightgown with Square Yoke.

Sizes 1, 2, 4, and 6 years ... 5654
One-piece Combinations. Sizes

1, 2, and 4 years... ... 2204

Child's Combinations. Sizes 2,

4, 6, 8, 10, and 12 years ... 4045
Sleeping Suit. Sizes 1, 2, 4, and

6 years 3002

Child's Pyjama Suit. Sizes 2,

4 and 6 years ... ••• 4573

Long-waisted Petticoat, with
circular Flounce. Sizes 2,
4, 6, and 8 years ... ... 4704

Princess Petticoat, with Sleeves.

Sizes 4, 6, 8, and 10 years... 3019
Two-piece Princess Petticoat.
Sizes 2, 4, 6, 8, 10, and 12

years ... 4046

Under-bodice and Knickers

Sizes 2, 4, 6. and 8 years ... 1685
Petticoat, with Bodice. Sizes 2,

4. 6 and 8 years 1472

One-piece Pinafore. Sizes 4, 6,

and 8 years 2093

Two-piece Pinafore, fastening on
shoulders, Sizes 2, 4, and

6 years 2094

School Pinafore, with or without
Sleeves. Sizes 4, 6, and 8
years ... ... •» 1*73

Pinafore, with Kimono Sleeves.

Sizes 4 , 0, and 8 years ... 1578
Pinafore, with Square Yoke.

Sizes 2, 4, 6, and 8 years ... 2092

Baby Doll's One-piece Outfit ... 4056

. Girl Doll's Complete Outfit ... 2085

Doll's Underwear Set ... 5688

Boy Doll's Outfit ... ...3001

Baby Doll's Outfit ... ••• 3000

Girl Doll's Clothes, with Magyar

Sleeves ... ... •«• 3032

Boy Doll's Clothes, with Magyar

Sleeves 3033

Bride Doll's Outfit ... ... 5360

Girl Doll's One-piece Outfit ... 5687

The

Home Art

Crochet

Book

CONTAINING

ENTIRELY NEW DESIGNS

FORllNGERlE.EDGINGS £

INS t llTIONS.B(Wf>E!c.S FOR

TH AY CLOT MS & D OILEYS
DEEP LACES PORTABLE
CLOTHS & VALANCES
MOTIFS FOR INLET WORK
£ IRISH LACE

THE

HOME ART SERIES

By FLORA KLICKMANN,

CROCHET

Containing Entirely New Designs for Lingerie,
hdgmgs and Insertions, Borders for Tray Cloths
and D oileys. Deep Laces for Table Cloths and
Valances, Motifs for Inlet Work and Irish Lace

122 Pages.
Demy 8vo, I/- net.

149 Designs.

(By Inland Post, 1/5).

"Will prove of great value to
the art."— The Standard.

It is a book which will be of the greatest interest
to needlewomen Many of the designs are extremely
handsome, the advanced worker being as well catered
for as those who are not so skilful."-7%e Lady

It is an excellent volume."— The Daily Telegraph.
those interested in

THE HOME ART BOOK OF
FANCY STITCHERY

With New Ideas for applying Crochet to Lingerie &
Napery, Bead-work and Fancy Stitches for Dress
Trimmings, Feather-Stitching, Smocking, Hardanger
Work, Darned Filet Crochet, Knitting, Macrame
Work, Darned Net, Cross-Stitch, Irish Crochet,

Embroidery on Flannel.
120 Pages. 263 Designs.

I/- net (by Inland Post, 1/5)

" It is thoroughly practical, and will be welcomed by all
women who delight in the craft of the needle." — The Lady.
" A practical little book."— The Birmingham Post.
"A most useful shilling manual of fancy work. An

extremely valuable

THE MODERN

(SoCHEfBoOK

addition to the
needle- woman's
equipment."

— TJie Queen.

A wonderful

shillingsworth."

— The Westminster

Gazette.

Home Art
Book of

Fancy
Stitchery

WTH NEW IDEAS FOR
APPLYING CROCHET TO
LINGERIE AND NAPERV
BEAD-WORK AND FANCY
STITCHES FOR DRESS
TRIMMINGS. PK.VTHEP
STITCHING. SMOCKING
HARDANGBR WORK
DARNED Fi LET CROCHEI

KNITTING.MACJMMK WORK

DARNBD NET. CROSS
snicH.lRisH CROCHET

EMBROIDERY on FLANNEI

Edited by

Flora Klickmann

FLORA KLICKMANN

THE MODERN
CROCHET BOOK

Containing Original Ideas for combining Crochet
with Embroidery and with Fancy Braids, together
with new and unusual Designs for use on Household
Linen, on Underwear, and as Dress Trimmings.

120 Pages. 127 Designs.

I/- net (by inland post 1/5).
"This is a model of what such books should be."

— The Standard.

"Beautiful illustrations are used, and these include
some filet mesh motifs which are bold designs for the
work which is now so popular." — The Guardian.

" It is thoroughly practical and full of original and
dainty ideas."— The Christian World.

PUBLISHED AT 4, BOUVERIE STREET, LONDON, E.C.

Either of the above Books will be sent, by the Publishers, anywhere in the
United Kingdom, post free, on receipt of postal order (not stamps) for 1/5.

355384

UNIVERSITY OF CALIFORNIA LIBRARY

ococ

i M The Kir

By kind frermitsio; V"

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